Nashville Scene 3-2-23

CITY LIMITS:

LICENSE PLATE

READERS ARE LIVE

PAGE 7

CITY LIMITS: STATE BANS

GENDER-AFFIRMING

CARE FOR YOUTH

PAGE 8

MUSIC: TOMMY PRINE BEGINS A NEW CHAPTER IN HIS FAMILY’S STORY PAGE 38

INSIDE: CAMP GUIDE

ROOM FOR INTERPRETATION

HOW NASHVILLE COULD BETTER SERVE ITS MULTILINGUAL COMMUNITY

BY KELSEY BEYELER

Visually engaging.

Metaphorically profound.

Nigerian Belgian artist Otobong Nkanga creates tapestries, drawings, videos, sculptures, and performances that feature narratives of wounding and healing, making metaphorical links between the landscape and the traumatized human body.

Come experience this visually engaging selection of works on view in the Gordon Contemporary Artists Project Gallery. Downtown

THROUGH APRIL 23

FristArtMuseum.org @FristArtMuseum #TheFrist #FristOtobongNkanga

With additional support from Funded in part by the Gordon CAP Gallery Fund

Lead sponsor

Otobong Nkanga. Revelations , 2020. Courtesy of the Artist. © Otobong Nkanga. Photo: Øystein Thorvaldsen.

The Frist Art Museum is supported in part by

This collection of works is part of the Tennessee Triennial for Contemporary Art, a program of Tri-Star Arts.

License

CULTURE

Plumbing the Depths

Depths of Wikipedia’s Annie Rauwerda is obsessed with accessible information BY

COLE VILLENA

BOOKS

Randall Kenan Could Fly

A posthumous collection captures a beloved writer’s brilliance

BY KASHIF ANDREW GRAHAM, CHAPTER16.ORG

PET OF THE WEEK!

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TUESDAY, MARCH 7

MARSHA BLACKBURN IGNORING NEWS MEDIA MEANS IGNORING CONSTITUENTS

I am growing increasingly concerned with the lack of communication from our elected officials in Washington, D.C. We deserve to hear from the people we elected to represent us in Congress, and none is in more of a position of responsibility than our senior U.S. Sen. Marsha Blackburn. She represents the entire state of Tennessee, yet she does not communicate with her constituents in the way we deserve.

It doesn’t take intensive research and analysis to see that Blackburn likes to play the darling to national news outlets, particularly those whose ideology most closely aligns with her own. She’s even hosted cooking segments on Fox News, for instance. Posing for Fox’s cameras in her kitchen and chatting about repurposing Thanksgiving leftovers, but not sitting for regular interviews with local newspapers? How is that in the best interest of Tennesseans?

essarily pertain to Tennessee. I was most struck by the following contrast. We reviewed 88 articles about Blackburn in daily newspapers across the state over the past calendar year. Of these 88, we pulled the 28 most relevant. Fifteen of these 28 — more than half — were opinion pieces. One was even an opinion piece by Blackburn herself. That means the majority of the news coverage we receive about Blackburn on a local basis isn’t directly from a journalist at all. The coverage features opinions and questions from local residents and from leaders in various pertinent industries. Where are the facts from our elected officials that we need to know, so we can form a perspective on the work they should be doing on our behalf?

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with SHARON CAMERON at PARNASSUS

Immortality: A Love Story

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Poverty, by America

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We can hardly turn on the national news — particularly conservative national news — without seeing Marsha Blackburn as a talking head. Her willingness to sit for interviews with those outlets has been clear for years. What is most disconcerting is that a thorough review of articles in our state’s daily newspapers over the past year shows that there is a major discrepancy between the material Blackburn feeds to us here locally and what she puts on national television.

Her opinions remain the same throughout all of her media appearances, but what strikes me most is the stark difference between the amount of local news coverage and national news coverage. As of this writing, if you search the phrase “Marsha Blackburn” on Fox News’ website, you’ll find roughly 2,000 results — including cooking segments and even a video interview with U.S. Sen. Bill Hagerty in our very own Pancake Pantry.

It’s rather clear that Blackburn is more interested in getting attention from national conservative press than Tennessee press. Her focus is apparent, as she offers ardent opinions on national issues that don’t nec-

But beyond the fact that our senior U.S. senator appears to be more willing to sit for national news than local papers, Blackburn has not held an in-person town hall meeting open to the general public since she was elected to the U.S. Senate. Not one! How are we supposed to hear her report on her work and her voting record, how are we supposed to ask questions of this elected official, if she does not make herself available to the general public? Her last town hall meeting, according to multiple reports, was in 2017! We have weathered many news cycles and challenging statewide issues during these past six years, but we have not been given an opportunity to address them with Blackburn in a town hall meeting. Not once!

That is arguably the most shocking detail of all. Blackburn can make time in her schedule to shoot Fox News video segments showing how to make toffee and repurpose Thanksgiving leftovers, but she can’t make time to sit for regular Q&As with daily newspapers across the state or host in-person town hall meetings for all her constituents. That’s just not right. Tennessee deserves better. Tennessee can do better.

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Bill Freeman is the owner of FW Publishing, the publishing company that produces the Nashville Scene, Nfocus, the Nashville Post and The News.

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In memory of Jim Ridley, editor 2009-2016

PHOTO: HAMILTON MATTHEW MASTERS

SEN. MARSHA BLACKBURN

LICENSE PLATE READERS ARE LIVE

Weeks into pilot program, cameras are mounted without proper signage while legislators consider what successful implementation looks like

BY ELI MOTYCKA

Automated license plate readers are up across Davidson County, while discussion continues about approved uses, data sharing and privacy concerns. The Scene visited six intersections where multiple LPRs are currently in use, none of which were accompanied by signage — despite the fact that Metro law requires “clearly visible and legible” signage where cameras are in use. Automated cameras, often mounted at busy intersections or on police cars, scan license plates in real time and cross-reference plates with “hot lists” — databases that allow law enforcement to request and share data between agencies. Many embrace the technology as a key expansion of police surveillance capabilities. A citywide network of cameras amasses vast amounts of location and identity information that, agencies argue, is critical for building a database that can help solve more crime. The technology has already been implemented across the state by police from Belle Meade to Goodlettsville, Mt. Juliet and Memphis. Critics are concerned by the sheer quantity of information that LPRs collect on a daily basis and how that data is stored, bought, sold or shared. They note that the technology is prone to mistakes, fails to reduce crime, violates expectations of privacy and expands police power with insufficient safeguards. Some fear that mistaken “hot list” hits, which occur when a camera misreads a plate or hits on a plate that is improperly categorized, could lead to arbitrary and excessive police interactions. Scrutiny and litigation around privacy, data use, data sharing and government regulation have

followed LPRs across the country, largely driven by the ACLU. Critics and advocates use the same phrase to describe a city dotted with LPRs: “It’s like having a police officer on every corner.”

Last year, the Metro Council approved a six-month pilot program for LPR use in Nashville over strong objections from legislators, community members, Metro’s Community Oversight Board and a long list of nonprofit organizations. Some councilmembers worried that such powerful technology could be used to track individuals seeking abortions or immigrants lacking permanent legal status. (The federal government does in fact use LPR data to target immigrants for deportation.)

Councilmembers attempted to bulk up

LPR accountability with carefully worded paragraphs and amendments addressing concerns, but they left room for requests from state and federal agencies, which datashare through what are known as fusion centers. Tennessee’s fusion center, housed inside the Tennessee Bureau of Investigation, is central to the state’s Amber Alert program and efforts to identify missing and exploited children, both named and approved uses for Nashville LPRs.

Thirty-nine LPRs are now up across the county, according to the Metro Nashville Police Department. Twenty-four are fixed on major intersections, mostly concentrated in and around downtown. Five are on mobile trailers, and 10 are attached to MNPD vehicles. Cameras started going up in late January and will continue through a fivemonth “field evaluation trial” in which three private companies are vying for a potential contract with the city. Over the weekend, an LPR hit led to the arrest of a 16-year-old in White’s Creek. He was charged with car theft in juvenile court, according to an MNPD press release. During the five-month evaluation period, these companies retain ownership of “hardware, software and equipment,” a broad allowance leaving a gray area around data ownership. A month into the pilot, councilmembers are still figuring out how they will judge its success.

District 15 Councilmember Jeff Syracuse heads the council’s Public Health and Safety Committee, set to receive regular reports from MNPD about its use of license plate readers.

“I’ve been having conversations with the [police department] about the program, metrics, how we’ll be able to judge it and, when it comes back to us, how to determine if this is a success or not,” Syracuse tells the Scene. “I want to be able to alleviate concerns that data isn’t being permanently stored and not doing anything but looking at a license plate. My goal is to better understand metrics so I can do better decisionmaking when this comes back to us.”

Syracuse says that, on a recent Zoom call, MNPD promised a public dashboard that will share some information about its use of LPRs. By law, police must share detailed information about traffic stops that result from LPR hits. However, information for 2023 traffic stops is not required until March 1, 2024, more than six months after

the Metro Council reviews the current pilot program.

Because the six-month pilot includes a competitive bidding process, Metro is legally protected from sharing its list of potential vendors or legal terms of engagement. All six intersections reviewed by the Scene featured Motorola cameras — Motorola being one of three potential vendors, according to MNPD. Alongside LPRs, MNPD has access to 382 private cameras from retail vendors like Amazon. Through a new program called Connect Nashville, residents voluntarily install a small fūsusCore device that directly shares residential feeds with police, who tout increased community safety and improved response times for users.

A few years ago, then-MNPD Officer David Terrazas was caught querying police databases for information about his wife and his girlfriend, for which he received a four-day suspension. Concerns about abuse of power to surveil and access to privileged information are often dismissed by advocates as unfortunate behavior by a few bad apples. Broader worries focus on the practical policing effects of a new ocean of data. Meanwhile, cameras across the city are already mounted without any signage stating that LPRs are actively scanning and storing driver data. MNPD says the Nashville Department of Transportation is in the process of putting up signs.

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It’s officially campaign season in Nashville. Councilmember Angie Henderson filed paperwork to run for vice mayor, a post that presides over the Metro Council. She will likely face incumbent Jim Shulman. Plus, two more candidates join a crowded field for mayor: former school board member Fran Bush and Republican strategist Alice Rolli State Sen. Jeff Yarbro (D-Nashville) has emerged as an early favorite. Read Q&As with Yarbro and Bush, courtesy of

the Nashville Banner. … Metro will take its participatory budgeting program citywide after carrying out two rounds in North Nashville in 2021 and 2022. A steering committee met for the first time this month to determine a process for allocating $10 million to projects submitted by residents. … Reporting by NewsChannel 5’s Phil Williams provoked a tiff between District Attorney Glenn Funk and Tennessee Attorney General Jonathan Skrmetti over security cameras in and around Funk’s Nashville office. Williams implied that the DA’s “eavesdropping devices” infringed on privacy concerns — Skrmetti said he would be investigating those claims. Funk maintains that the cameras are normal security measures and invited Skrmetti and NC5 for a tour. … The Metro Council passed a $478.5 million capital spending plan that funds projects across the city. City employees

and artists spoke to the council about cost-of-living increases and expanded grantmaking at early budget hearings, which will continue through the spring. … The council will soon consider a final agreement between the city and the Tennessee Titans for a new domed stadium. After more than a year of negotiations, the mayor filed the proposed deal on Friday afternoon. … The ACLU is poised to sue the state of Tennessee after legislators passed HB1, a bill banning certain medical procedures for transgender youth. The legislature also passed a bill banning public drag shows. The bills are just the latest in a long history of state control over people’s bodies, writes contributor Betsy Phillips

THIS WEEK ON OUR NEWS AND POLITICS BLOG:

THIRTY-NINE LPRS ARE NOW UP ACROSS THE COUNTY, ACCORDING TO THE METRO NASHVILLE POLICE DEPARTMENT.

HB1 PASSES, EFFECTIVELY BANNING GENDER-AFFIRMING CARE FOR YOUTH

ACLU looks to sue as legislation makes parents of trans children question future in state

BY HANNAH HERNER

The Tennessee General Assembly passed a bill Thursday that puts doctors at risk of losing their license for providing gender-affirming care to minors. The legislation is also making parents of trans youth question their future in the state.

House and Senate Bill 1, which effectively bans gender-affirming care for transgender youth, is on its way to Gov. Bill Lee’s desk after passing in the House 77 to 16 on Thursday. It passed in the Senate earlier this month. The American Civil Liberties Union of Tennessee is planning to take legal action to stop the legislation, which penalizes medical providers who offer hormone therapy, puberty blockers and gender-affirming surgeries for minors in the state.

ACLU of Tennessee staff attorney Lucas Cameron-Vaughn says the bill violates the constitutional rights of adolescents, parents and their medical providers.

“Parents have a fundamental right to direct the upbringing of their children,” Cameron-Vaughn says. “It’s been recognized for many years by the U.S. Supreme Court. This law would intrude upon that right. It would also discriminate against young people for

INTO THE WEEDS AGAIN

The state once again considers cannabis-related legislation

BY CONNOR DARYANI

being transgender, violate their equal protection and due process rights, and it would violate the rights of doctors to take care of their patients.”

Tennessee is one of 11 states that has proposed a law limiting gender-affirming care for trans youth, but two states, Alabama and Arkansas, are ahead of Tennessee in the process. In 2021, Arkansas passed a similar law, and the ACLU sued. The case is ongoing. In 2022, Alabama was the first to make providing gender-affirming medical treatment a felony in the state. The U.S. Department of Justice promptly challenged the law, and eventually a judge ruled to allow hormones and puberty blockers, but not surgeries.

State Rep. John Ray Clemmons (D-Nashville) unsuccessfully pushed for a similar policy on the House floor Thursday.

Senate Majority Leader and bill sponsor Jack Johnson (R-Franklin) was among the legislators who stood in front of a crowd at an anti-trans rally in October and pledged to file what would become HB1. The rally was led by conservative media figure Matt Walsh, who posted a social media thread accusing the Vanderbilt Pediatric Transgender Clinic of malpractice and prompted a firestorm of attention. Walsh also testified

Cannabis-related legislation tends to be brought up and shot down every year in the Tennessee General Assembly. And while this year may be no different, some members of the Republican supermajority are beginning to think twice about their staunch stance against cannabis.

A bill from Sen. Janice Bowling (R-Tullahoma) would legalize the use of medical cannabis in Tennessee. With the passage of medical cannabis legislation in many of the states bordering ours, including the heavily red Mississippi, advocates have been emboldened in their ongoing battle to present cannabis as a possible mitigating factor to the opioid

for the bill in the legislature.

Vanderbilt University Medical Center’s Pediatric Transgender Clinic released a statement that month explaining that an average of five patients per year, all 16 or older, received surgeries, and none received genital surgeries. Even so, Vanderbilt put a pause on the surgeries in October. The pause is still in effect, a spokesperson confirmed to the Scene Thursday.

The legislation provides a path for parents to sue if the care happened without their consent and for people who received gender-affirming care as minors to sue their medical providers as adults. Even if the family involved is satisfied with their child’s care, the state attorney general can sue.

“Physicians have the harm of having to choose between breaking the law or [denying] appropriate care in line with medical consensus,” says Cameron-Vaughn.

HB1/SB1 does not explicitly threaten gender-affirming care for adults, but it is evidence of a worrisome trend, CameronVaughn says. There are a number of bills moving through the legislature that target the LGBTQ community, including one criminalizing public drag performances, which also passed Thursday.

The ACLU is poised to buy time by suing before HB1/SB1 goes into effect in July, but families of transgender kids are on a timeline too — when their child will hit puberty.

One mother of an adolescent trans son is considering closing down her small business and moving away due to the legislation.

“I feel like I’ve done my part as a Tennessean for the last eight years that I’ve resided in the state by running a successful business that supports people in their community, and I’ve found a lot of great success and a lot of amazing friendships and community and solidarity in this city,” she says. “I’m just hoping that the courts are able to stop it and that somehow people will come to their senses and realize what dangerous legislation this is.”

Another mother whose name we also withheld has a kindergarten-age child who is trans and is worried about access to gender-affirming care as her child grows. She has lived in Tennessee her entire life and is concerned for families who may not have the means to leave.

“We love our community and we’re super invested and we are really supported and loved and valued by our immediate community, but we’re positioned in a state where it’s kind of up in the air,” she says. “It’s a question mark, and if we can’t give our child the life that she deserves, then we will find that somewhere else.”

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epidemic. Though the FDA has not approved the use of cannabis for medical purposes, many states allow it for the treatment of pain, nausea and other medical conditions.

“We have put the people of Tennessee in a terrible position of not being able to have this very safe choice, and instead continually forcing them in the direction of opioids and other synthetic drugs,” says Bowling.

The number of drug-overdose deaths skyrockets every year in Tennessee. According to the Tennessee Department of Health, in 2021, 3,814 people died by overdose in the state — up from 3,032 in 2020, and 2,089 the year before that. Of the 2021 deaths,

STATE SEN. JACK JOHNSON SPEAKS AT A RALLY AGAINST TRANSGENDER

PHOTO: HAMILTON MATTHEW MASTERS

more than 3,000 were caused by opioids. Research is mixed on whether introducing medical cannabis can actually reduce overdose deaths, but given its relatively minor side effects and very low risk of addiction, 37 states have already legalized the drug for medical use.

“I’m sick of Tennessee always being the last and the most conservative in the nation,” says state Sen. London Lamar (D-Memphis). “It’s being used as a tool to keep people in jail as a form of classism. That’s ultimately what I think. I don’t think that they care to keep people safe. Because if they did, then they would do something about the opioid crisis and the fentanyl that’s going around.”

Bowling admits that until a few years ago, she had misgivings about the use of medical cannabis.

“I, like so many others, had believed all of the misinformation and out-and-out lies that, in my opinion, Big Pharma has put out since Richard Nixon, if not before,” says Bowling. Now, after doing her own research on the benefits and legality of an intrastate medical cannabis program, Bowling hopes to bring the industry to Tennessee before it’s too late.

“If we wait, the great sucking sound is going to be any business model, any growing in Tennessee, any product that’s been tested in Tennessee, third-party labs — all that’s in my bill,” she says. “It would be a safe product. And it would be available within Tennessee. Instead, all [of that business would be going out of state]. And we would have a rush of products literally from across the world.”

But many of Bowling’s colleagues in the legislature have not yet come around to the heavily stigmatized drug. Sen. Richard Briggs (R-Knoxville), who has filed some cannabis legislation of his own, says he does not support Bowling’s bill.

“First of all, the FDA will never legalize marijuana or make it medical, because marijuana is a plant,” says Briggs. “We don’t have plants that people prescribe. Penicillin comes from mold. But when you get strep throat, we don’t recommend you go and eat moldy bread.”

Marijuana is federally classified as a Schedule 1 drug, which according to the DEA means it has “no currently accepted medical use and a high potential for abuse.” Other Schedule 1 drugs include heroin, LSD and ecstasy.

Last year, a similar bill from Bowling made early moves through committees, but was ultimately voted down in the Senate Judiciary Committee. This year, her bill has again reached the Senate Judiciary Com mittee, with a vote currently scheduled to take place after the Scene’s print deadline. But with multiple members of the committee already expressing their opposition to the bill, it’s facing an uphill battle.

Briggs’ cannabis bill, on the other hand, seems to be gaining traction. Last year, Briggs introduced a bill to completely ban Delta-8 and other cannabisderived products from Tennessee. The bill passed in the Senate but ultimately failed in the House, with legislators expressing concern due to the likely im pact on Tennessee’s robust hemp industry. (Hemp is a cannabis plant whose use does not have psychoac tive effects. Synthetically derived Delta-8 is a can nabis product that does have psychoactive effects. Both are currently legal in the state.) This year, Briggs’ bill would not ban the synthetic products, but would instead regulate them in an attempt to keep them out of the hands of minors.

During last week’s committee meeting, Briggs pointed out that many states that have legalized recreational cannabis have banned Delta-8 and other similar products due to safety concerns. But Lamar is concerned that Briggs’ bill is too restrictive.

“I think that they’re making Delta-8 more restric tive than getting a beer in a convenience store,” says Lamar. “You’re adding something to the criminal code and potentially finding ways to criminalize innocent college students.”

Even highly regulated, Delta-8 is unlikely to ever have the medical validity that more and more studies are showing naturally derived cannabis products to have, and Bowling hopes some of her more wary col leagues will come around.

“I would just encourage them to look at the condi tion that it helps,” says Bowling. “And everybody can know loved ones who are suffering needlessly [with] epilepsy, lupus and fibromyalgia. Why are we causing people to suffer and not have available to them the best medical treatment that is available, which is, by a lot of statistics, a lot of data, medical cannabis,” says Bowling.

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Sip. Shop. Su or .

Music City Center

ROOM FOR INTERPRETATION

HOW NASHVILLE COULD BETTER SERVE ITS MULTILINGUAL COMMUNITY

BY KELSEY BEYELER

IT’S SOMEWHAT RARE to find an atmosphere as open and welcoming as the one provided by the Nashville Spanish-English Conversation Group. The group was established to provide both English and Spanish speakers opportunities to practice their language skills in a relaxed environment. There are no lesson plans or rules — just a shared interest in language acquisition and enough people to practice with, even when that means doing so imperfectly.

“You’re American, you want to practice your Spanish? You are welcome,” says Nashville Spanish-English Conversation Group creator Daniel Huerta Marquez. “You are a Latino, you want to practice your English? You are more than welcome. You’re from another country? You’re more than welcome. That’s my intention, to make this kind of like a safe space for everybody.”

The group has blossomed into a large community, with nearly 2,000 members on the virtual platform Meetup and biweekly in-person sessions of around 30 people each. At first Huerta Marquez wasn’t sure if anyone would join, but now he has dozens of friends from across the world who he wouldn’t have met otherwise. The group is a prime example of the joy that can be found in celebrating different cultures — and Nashville could benefit from more like it in an array of languages.

Spanish is the second-most-spoken language in Nashville, but it’s just one of many represented in Davidson County, which has seen a significant rise in its multicultural population in recent years. Nashville, for instance, is home to the largest Kurdish population in the United States. According to Metro’s Director of New Americans Mohamed-Shukri Hassan, the top 10 languages

represented in Nashville are Spanish, Arabic, Kurdish, Somali, Swahili, Burmese, Amharic, Vietnamese, Nepali and Farsi. Students who are actively learning English and those who have transitioned out of the English Learners program within the past four school years represent nearly 140 languages and 27 percent of Metro Nashville Public Schools attendees. That’s around 22,000 students.

From the Uzbek cuisine at Osh to the city’s burgeoning Latin music scene, Nashville’s diversity enriches its character, offering multifarious perspectives, ideas and cultural identities. Plenty of research shows that diversity, in all its forms, enhances economic and social development across sectors. But there are still significant gaps in how this city serves its multicultural residents — particularly those who are learning English.

Language access is a federal right, as established by Title VI of the Civil Rights Act. That right was further cemented in 2000 by an executive order from the Clinton administration. Organizations that receive federal financial assistance have an obligation to “take reasonable steps to ensure meaningful access to their programs and activities” in a way that is “consistent with, and without unduly burdening, the fundamental mission of the agency.” This includes, to varying degrees, government and community services, health care facilities, educational institutes, nonprofits and more. These same entities have a similar responsibility to provide deaf and hard-of-hearing individuals with access to American Sign Language under the Americans With Disabilities Act, and to provide services to those with other communication disabilities. The concept and process of providing limited English proficiency (or LEP) people — and deaf people — with language services as a federal right is commonly referred to as language access or language justice.

“Is there some level of language justice being provided [in Nashville]? Absolutely,” says professional interpreter and career coach Diana Sanchez-Vega. “But it’s not at the level it should be provided.”

Nashville has a long way to go in providing comprehensive language access, and doing so requires more than plopping a few interpreters in different settings, as consideration of aspects like cultural competency is also necessary. Establishing a proper multilingual and multicultural infrastructure would enrich Nashville, culturally and economically, for everyone — including native English speakers.

THE NOTION THAT some people cannot speak English because they lack the desire or intelligence to do so is an unin-

formed assumption.

Many of these people are in Nashville because of circumstances beyond their control, including refugees who’ve fled the current war in Ukraine, or those who escaped the Kurdish genocide of the 1980s. As these folks enter a new country and navigate the red tape that comes with it, learning English often comes second to surviving. Even those who are willing and able to learn the language face barriers.

“It’s not that people don’t want to learn English,” says Becca Blank of Voces de Nashville, an organization that teaches Spanish. “There aren’t enough classes, and there aren’t classes that work with the economic pressures that people are under. And so we [all] have to do our part. We also have to create the conditions for that to happen.”

Voces de Nashville was created to “unite

Nashville’s multicultural communities through language learning,” and in the process empowers Latina women by providing career opportunities. It also seeks to address the need for more Spanish speakers within Metro Nashville Public Schools.

“One of the biggest deficiencies in schools is the language barrier, because … there are teachers who are very willing and open to supporting students to their best ability, and parents as well,” says Voces de Nashville’s Kissie Gutiérrez Ramírez, via interpretation by Becca Blank. “But because of the language [barrier], they’re not able to do that.”

While MNPS has its own office of English learners, which addresses this need throughout the district, there’s always more work to be done. But K-12 students are significantly more equipped to learn English than adults.

“We have centralized services that are offered through our local school district that have a lot of research-based interventions going into them,” says Brandon White, director of education for the Nashville International Center for Empowerment. “For adult learners, there is no system that provides services to all adults cohesively.”

While there are myriad English classes in Nashville offered by MNPS, nonprofits like NICE, the Nashville Public Library and other organizations, the demand for these classes continues to outweigh the supply. What’s more, barriers like work schedules, cost and transportation remain — though the virtual classes that stemmed from the COVID-19 pandemic opened new opportunities for more convenient language instruction.

Nashville’s lacking public transit system provides little help for those without cars. What’s more, undocumented individuals aren’t eligible for driver’s licenses, and the test isn’t offered in Arabic — Tennessee’s third-most-spoken language.

“Some of the backlash [is], ‘This is Tennessee, why don’t you just learn the language?’ ” says Sabina Mohyuddin, executive director of the American Muslim Advisory Council. “Well, we were helping put together ESL classes for Afghans [and] realized that it’s hard for them, they don’t have transportation to even get to one location for ESL classes, and then the work schedules … are all over the place. And so that’s a challenge in and of itself.”

The AMAC is a part of the campaign Our State, Our Languages, which is currently

BEATRIZ ORDAZ RAMÍREZ (LEFT) AND BECCA BLANK, VOCES DE NASHVILLE

SABINA MOHYUDDIN, EXECUTIVE DIRECTOR OF THE AMERICAN MUSLIM ADVISORY COUNCIL

“IT’S NOT THAT PEOPLE DON’T WANT TO LEARN ENGLISH. ... THERE AREN’T ENOUGH CLASSES, AND THERE AREN’T CLASSES THAT WORK WITH THE ECONOMIC PRESSURES THAT PEOPLE ARE UNDER. AND SO WE [ALL] HAVE TO DO OUR PART. WE ALSO HAVE TO CREATE THE CONDITIONS FOR THAT TO HAPPEN.”

— BECCA BLANK OF VOCES DE NASHVILLE

WORK WITH THE ECONOMIC PRESSURES

PHOTO: ERIC ENGLAND

PHOTO: ANGELINA CASTILLO

circulating a petition demanding more language access for the state driver’s license test. Tennessee’s test is offered in English, Spanish, German, Korean and Japanese, and other Southern states, including Alabama, offer the test in Arabic. A spokesperson for the Tennessee Department of Safety and Homeland Security tells the Scene the department “is currently considering this request.”

With resources to teach English lacking, people and organizations must bridge the communication gap through interpretation services. Even still, that’s more complicated than calling a language line or bringing in a bilingual person. While providing any kind of interpretation service is better than having nothing — and again, it’s a federal requirement for many organizations — depending entirely on interpretation is a stopgap solution to a greater problem. That problem includes a lack of language infrastructure that sufficiently prioritizes diverse representation, bilingual employees and on-staff interpreters who are familiar with the inner workings of the given organization.

Interpretation services include a spectrum of requirements and qualifications that change depending on the setting. Diana Sanchez-Vega has created an entire business around training bilingual people to become professional interpreters and training organizations how to effectively work with them.

“Bilingualism is already a highly developed skill,” says Sanchez-Vega. “But interpreting is an even higher developed skill.”

“There are so many standards of practice that we abide by, a code of ethics that I didn’t know existed before I was trained,” says freelance medical interpreter Gabriela Bohórquez. “We can talk about impartiality … confidentiality, advocacy, professionalism. You also have to know your role’s boundaries [and] where your limits are as an interpreter. And so many times you are asked to go beyond those boundaries, because people don’t know. And I’m talking about patients and facilities, or providers as well.”

Bohórquez notes the challenges of her job, including working with those who aren’t receptive to interpreters. One doctor, she says, attempted to forgo her interpretation services because Bohórquez wasn’t visible

the moment he entered the examination room. (She says interpreters cannot wait with the patients inside the exam room when doctors are not present, and Bohórquez had been seated nearby while waiting.) While the doctor insisted that the patient spoke English, it was conversational English, and the patient didn’t have the proficiency necessary to understand a medical diagnosis. So Bohórquez had to ask the doctor to explain the diagnosis again. “He was annoyed,” says Bohórquez. “He rolled his eyes, and then he started going through it, of course, very quickly. He just wanted to get rid of us. And yeah, that was a super bad experience that I had, where I had to advocate for myself and the patient.”

“I have to remind patients that we’re not there to be friends and I cannot share personal information with them,” says Bohórquez. While the need for these boundaries is understandable — particularly in medical and legal situations — they can also add a layer of discomfort to already stressful circumstances.

“No one should have to feel like, ‘I’m talking to someone who could affect my life, and they don’t understand me,’ ” says Lydia Yousief, director of the Elmahaba Center, which serves Arabic-speaking people in Nashville. “And I don’t think a lot of white people think about that. What does it mean when I’m trying to describe a painful experience or some pain in my body? And there’s someone next to me — and it’s no fault of their own, they’re just doing their job — they don’t feel that pain. They don’t know how to describe it, and they’re the ones speaking on behalf of you.”

Beyond speaking another language, interpreters should also have the cultural competence necessary to understand the needs of the communities they’re representing. “Arabic in Nashville looks very different from … Arabic in New York, because there’s a different context, different class, different homeland and migration history,” says Yousief.

The nuances that come with interpretation demonstrate the need to have a multilingual workforce that can authentically engage and interact with the communities they serve. This shouldn’t, however, mean conflating multilingual staff members with

interpreters. Not only is there a danger in relying upon those who aren’t properly trained to explain industry-specific terms (which can present potential legal ramifications), but it can also place an unfair burden on multilingual employees who are expected to interpret on top of their regular workload — particularly if they’re not being compensated for that extra work and expertise. A lack of proper communication can sometimes lead to life-threatening situations.

Nancy Denning-Martin is the president and CEO of Bridges for the Deaf and Hard of Hearing. She describes to the Scene an instance in which a deaf man, who was never provided an interpreter, was wrongfully arrested and jailed for a week “in what was, ultimately, a misunderstanding. … The judge recognized that his rights had been completely violated.” Bridges was able to use that experience as a catalyst to implement a Deaf Driver Safety database, but it took a human rights violation for that change to happen.

As a matter of necessity, a lot of advocacy, education and labor surrounding language access is led by nonprofits and advocacy groups like Bridges. That’s especially the case when it comes to vital city information and emergency response communications.

“Another huge thing that we’re seeing is a massive discrepancy and massive, very salient language inaccessibility … when it comes to disaster relief and management,” says Luis Mata of the Tennessee Immigrant and Refugee Rights Coalition. “And we saw that very evidently [during] the tornado, the floods in Nashville. … People don’t realize this discrepancy and don’t realize this need here until a disaster happens or until it’s a life-or-death situation. And that is exactly why we must continue working toward robust and proactive initiatives, instead of reactionary initiatives.”

“Institutions cannot look at their nonprofits as [the ones to] fix the problem,” says Martha Silva, co-director of Latino community nonprofit Conexión Américas. “But absolutely, they can see us as a source of input, knowledge and expertise, because that’s what we do every day, is working with unserved communities that actually fell in the cracks of that lack of service.”

FEDERAL LANGUAGE POLICIES and the Americans With Disabilities Act have both been in place for decades, Nashville’s LEP population has grown significantly in that time, and members of the Deaf community have always been here. So it’s worth wondering why the city isn’t further along in addressing these community needs.

“It’s hard to get something as big as a metropolitan government to switch gears and not do things the way they’ve always done things,” says District 30 Metro Councilmember Sandra Sepulveda. “I don’t want to give the impression that we’re not trying. I think we’ve done more than what has been done in the past, but we still have a ways to go.”

Improvements include Spanish subtitles for Metro Council meetings, and the city’s Office of New Americans, which engages multicultural community members through multiple avenues, like the New Americans Advisory Council and a program called MyCity Academy. The academy educates New Americans about Metro’s processes so they can relay that information back to their

communities. Metro’s website has a translation tab that offers many different languages. Metro has a published “Language Access Guide and Toolkit” that outlines expectations around language access, and annual Title VI compliance reports indicate which departments are sufficiently addressing this. It’s not much, but considering the fact that 43 percent of Nashville voters just 14 years ago voted in favor of a galvanizing “English only” proposal, which aimed to make English the local government’s official language, it’s something.

There are a number of ways in which the public and private sectors can further address language access — and a lot of it simply boils down to weaving multicultural community members more fully into Nashville’s operational fabric. That means expanded, proactive policies that aren’t just there to satisfy a requirement, but truly consider and embrace Nashville’s entire population. It means carving out space for more interpreters in the city budget, and more deeply involving Deaf and multilingual people in the process. Additionally, properly investing in multilingual education can create a local workforce capable of addressing these needs.

These ideas require big, sometimes abstract actions that take time and money to implement. Small steps can make a huge difference — steps like translating web pages, documents and applications, and relying more on locals instead of over-the-phone interpretation services. There are also actions individuals can take, like speaking slowly and clearly, pausing more often during simultaneous interpretations and leaving time for people to ask questions through interpreters during events.

Community members can push their elected officials to prioritize language justice. They can interact with organizations that support their multilingual neighbors by donating or volunteering, specifically to organizations whose leadership represents the communities they serve. Folks don’t have to be fluent in other languages to engage, though there are plenty of places to learn and practice a new language. The Tennessee Language Center, for example, can provide foundational instruction, and spaces like the Nashville Spanish-English Conversation Group can help people practice new language skills and meet friends while doing so.

These steps aren’t just for emergent bilingual and Deaf community members. They’re for everyone.

“[Language access] is a human right,” says Conexión Américas’ Silva. “We cannot sign anything without understanding, we cannot agree on anything, so those are critical moments when we have to remind ourselves and everybody — the state and the city and anybody involved — that, ‘Hold on, this cannot be pushed, this cannot be rushed, because this person needs to absolutely understand what is happening.’ ”

“We need to be more intentional,” she says. “We need to be more realistic, we need to not put bottlenecks in the processes. And then I believe that the solution is right here in the people. We have the people, we have the families, we have the youth. It’s changeable. We actually can go and talk to them right now if anybody needs an idea of how we can make this more realistic.”

DIANA SANCHEZ-VEGA, PROFESSIONAL INTERPRETER AND CAREER COACH

PHOTO: ERIC ENGLAND

UPCOMING SHOWS AT THE MUSEUM’S CMA THEATER

MARCH 9 PHIL ROSENTHAL

AN EVENING WITH PHIL ROSENTHAL OF SOMEBODY FEED PHIL

APRIL 12 HOT TUNA ACOUSTIC DUO

MAY 1 GIRL NAMED TOM

MAY 11 LOS LOBOS 50TH ANNIVERSARY TOUR

JUNE 3 RON POPE 2023 TOUR WITH SPECIAL GUEST LYDIA LUCE

JUNE 17 BRUCE COCKBURN WITH SPECIAL GUEST DAR WILLIAMS

TICKETS ON SALE NOW

Museum members receive exclusive pre-sale opportunities for CMA Theater concerts. Learn more at CountryMusicHallofFame.org/Membership.

BOOKED BY @NATIONALSHOWS2 • NATIONALSHOWS2.COM

The CMA Theater is a property of the Country Music Hall of Fame and Museum.

CRITICS’ PICKS

WEEKLY ROUNDUP OF THINGS TO DO

THURSDAY / 3.2

MUSIC

[LET THE

TRÏBE INCREASE] A NIGHT WITH TRÏBE

There aren’t many larger footprints in Nashville hip-hop right now than that of Six One Trïbe. They’ve become a Scene favorite over the past few years, and the collective just keeps picking up more momentum as they roll on, releasing their silky EP Lick My Chain just before Valentine’s Day this year. The Thursday night event at Cobra will feature a trio of the group’s key voices from their Trïbe Over Everything album, released last fall to high praise. Riø Tokyo, AndréWolf and Corduroy Clemens will be onstage representing their larger clique on the microphone. You can expect good times, merch giveaways and likely a cameo or two from the extended Trïbe family. It’s an intimate look at one of the most important collectives going in Music City. 8:30 p.m. at The Cobra, 2511 Gallatin Ave. P.J. KINZER

[DUCKY,

MUSIC

YOU’RE THE ONE]

DUCKY NEPTUNE, VITAL HUMOR & ZÜG

Hometown heartthrobs Ducky Neptune will headline an eclectic night of indie poprock in celebration of their most recent single “Charlie,” released in early February. The tune expands upon the band’s soulful approach to the adventurous hooks first cultivated on their 2020 Ducky Neptune

EP. Recorded at the historic FAME Studios in Muscle Shoals, Ala., “Charlie” acts as a prelude to the group’s forthcoming debut Insensitive Plastic. “We put in 60 hours over five days last summer,” recalls frontperson and founding member Josh Blanco.

“Recording at FAME was spiritual, to say the least.” Grammy-winning engineer and producer Robert Carranza contributed the finishing touches on what promises to be Ducky Neptune’s most expressive batch of

songs to date. Indie beach dreamers Vital Humor and the transcendent sound of ZÜG will kick off the evening. 9 p.m. at The 5 Spot, 1006 Forrest Ave. JASON VERSTEGEN

MUSIC [FOR THE RECORD]

THE BOB PINSON RECORDED SOUND COLLECTION AT AGE 50

Since the late 19th century, records have been an integral part of the story of music and its relationship with culture. Who got recorded and how their records were marketed is key to the story; in country music, the effects of the segregation of the recording industry starting in the 1920s continue rippling out today. At an early age, Bob Pinson turned his love of recorded country music into a career as an expert collector and trader, and in 1972, he sold some 14,000 recordings — including commercially available items, transcription discs of radio broadcasts and more — to the Country Music Hall of Fame and Museum. The Pinson collection effectively doubled the organization’s archives, and the next year, he joined the museum as manager of the collection. By the time the late Pinson retired in 2001, he expanded the collection to some 200,000 recordings, while also launching the museum’s library reference service and playing a vital role in making the details of country music recording a serious field of study. Thursday, a panel moderated by the CMHOF’s Patrick Huber will take a deep dive into Pinson’s work, while playing some selected recordings for the audience. Panelists include University of Wisconsin audiovisual archivist Nathan D. Gibson, former CMHOF director Bill Ivey (who also negotiated the Pinson collection acquisition) and Tony Russell, who worked with Pinson on his landmark book Country Music Records: A Discography, 1921-1942 Separate admission isn’t available just for this program, but it is a free add-on with the purchase of a regular museum ticket — see

NASHVILLE REP PRESENTS FENCES

MARCH 3-5

the CMHOF website for full details. 3 to 5:15 p.m. at the Country Music Hall of Fame and Museum’s Ford Theater, 222 Rep. John Lewis Way S. STEPHEN TRAGESER

FRIDAY / 3.3

MUSIC

THEATER

[NOT JUST ANOTHER ONE] FINGERNAILS ARE PRETTY

Fingernails Are Pretty is not just a cover band. The group takes the music of the world’s biggest dad-rock band, Foo Fighters, and brings it new life with an all-woman band. What’s more rock ’n’ roll than that? Fingernails Are Pretty debuted at last year’s Tomato Art Fest and have quickly taken Nashville by storm. The band, which takes its name from a nonsensical lyric in the Foos’ debut single, was started by drummer Angela Lese (All Time Low, Halestorm) and features a rotating cast of rockers from around Music City. Previous contributors include Lauren Strange, Sarah Tomek (Them Vibes), Vera Bloom, Kalie Shorr and Mariah Schneider (Slider, Julien Baker). Fingernails Are Pretty will take the stage at Eastside Bowl in Madison on Friday with support from Gonna Be Friends. If you somehow still need proof that women are the future of rock music, a Fingernails Are Pretty show will definitely do the trick. 8 p.m. at Eastside Bowl, 1508 Gallatin Pike S.

[OUT RIDIN’ FENCES]

NASHVILLE REP PRESENTS FENCES

Much of the brilliance behind August Wilson’s work lies in his ability to provide such a unique window into the Black American experience. His Tony- and Pulitzer-winning play Fences — running this weekend at Nashville Repertory Theatre — provides the perfect case in point. Part of Wilson’s landmark 10-play Century Cycle, Fences examines the American Dream through the lens of racial discrimination while taking on tough themes of family, duty and intergenerational trauma. But at its core, Fences tells the story of a workingclass Black family in 1950s Pittsburgh. It’s exciting to see director Jon Royal back in action. (A driving force in the local theater community, Royal has directed a number of impressive productions for the Rep over the years — including Pipeline, Topdog/ Underdog and Smart People.) And he has assembled a terrific cast here, including Clark Harris, Alicia Haymer, Cameron L. Mitchell, DéYonté Jenkins, Bakari J. King, Kenny Dozier and Jordan Marie Elizabeth Nixon. The Rep has teamed up with TPAC to present Fences to local students next week, but public performances are available this weekend only. March 3-5 at TPAC’s Polk Theater, 505 Deaderick St. AMY STUMPFL

MUSIC [WOMEN’S WORKS]

ALIAS CHAMBER ENSEMBLE

March is Women’s History Month, and ALIAS Chamber Ensemble is marking

HANNAH CRON

TPAC’s Polk Theater

DUCKY NEPTUNE

the occasion with a special concert Friday at Lipscomb University’s Ward Hall. The program celebrates an impressive lineup of women composers, showcasing Clara Schumann’s powerful Piano Trio along with Tennessee composer Judith Markovich’s tender “Lament.” (Billed as a work for piano, string quartet and “Empty Chair,” the latter piece was written in memory of Markovich’s dear friend and fellow musician, Laura Flax.) The performance also features an intriguing pair of international works — Brazilian-American composer Clarice Assad’s “Obrigado” for mandolin and string quartet (inspired by the chants and rhythms of the AfroBrazilian religion Umbanda) and Parisbased Japanese composer Yuko Uebayashi’s works for flute and piano (beautifully described as “Debussy and Ravel meet in Nippon”). All proceeds will go to fund the ALIAS in the Community program, which brings chamber music to local students and adults through a wide range of innovative programs and partnerships. 7:30 p.m. at Lipscomb’s Ward Hall, 1 University Park Drive AMY STUMPFL

SATURDAY / 3.4

MUSIC

[DEEPER THAN RAP]

LEGENDZ

OF THE STREETZ RELOADED

additional sensory needs. Whether your triceratops has a broken tail or your puppy hurt its paw, the zoo’s vets will make sure your stuffed pal is as good as new. March 4-5 by appointment at the Nashville Zoo, 3777 Nolensville Pike HANNAH CRON

[GRATEFUL SHRED] DAWES

[POROUSROBERT RECTANGLEPANTS]

BIG BUBBLE RAVE

While the ’90s will always be the golden age of hip-hop, the 21st century was when rap music shook down the music biz for money, fame and respect. The Legendz of the Streetz tour honors the era when the larger recording industry could no longer dismiss the platinum genre as a fad. With a stunner of a lineup that features mammoth micsmiths like Jeezy, Rick Ross, T.I. and Gucci Mane, the tour promises to pump out hits like a home run derby. My personal favorite of the bunch is the diplomatic emcee Cam’ron, whose 2002 album Come Home With Me is still one of the best collections of tracks NYC has produced in the past 25 years. 7 p.m. at Bridgestone Arena, 501 Broadway P.J. KINZER DANCE

From the same venue that brought you the Shrek Rave, may I present to you … the Big Bubble Rave? In all honesty, I was prepared to write about a SpongeBobthemed party dubbed the Bikini Bottom Rave, because that’s what it was called when it landed on my radar earlier this year. It appears, however, that the Bikini Bottom Rave has been rebranded to the more generic “underwater[-]themed” Big Bubble Rave. Though I can’t confirm what actually happened, I’d like to imagine it involved angry DMs from Nickelodeon representatives. But there’s no need to fret. The event’s poster assures us that “the name is changed but the party still the same.” It also boasts the same important “It’s dumb just come have fun” disclaimer as January’s Shrek Rave poster. One source confirmed that the Shrek Rave was indeed dumb, and that at least one person brought an onion. I predict this rave’s produce of choice to be pineapple. I also predict sponges and bubbles flying high above a crowd dressed up as sea creatures and astronaut squirrels.

This event is a glowing example of unhinged chaos, and to that I say — why not? 9 p.m. at Brooklyn Bowl, 925 Third Ave. N.

KELSEY BEYELER

FILM

[BORN ON THE BAYOU] EVE’S BAYOU

The Belcourt’s excellent Beloved: A Spotlight Series on Black Female Directors ties up this week with Kasi Lemmons’ 1997 family drama Eve’s Bayou It’s the Harriet filmmaker’s debut feature, which she both wrote and directed. In it, 10-year-old Eve (Jurnee Smollett) lives in a prosperous Creole community in Louisiana, and life looks picture-perfect. Her doting father (Samuel L. Jackson) is a widely respected doctor, and her glamorous mother (Lynn Whitfield) is devoted to her two daughters. But when Eve witnesses her dad screwing around with a family friend, her whole existence is called into question. A true Southern Gothic, set in a hazy, lush Southern Louisiana summer, the film wrestles with the reliability of memory, especially as one comes of age. It also wrests control of the narrative of Black mothers, as scholar Christina N. Baker notes, resisting the images of “a mythical angry ‘matriarch’ or conniving ‘welfare

queen’ ” that have historically vilified Black female characters in film. All My Children star Debbi Morgan is fabulous as Eve’s Aunt Mozelle. Following the Saturday screening, programmer Sheronica Hayes will discuss the film with Vanderbilt professor Candy Taaffe. Noon Saturday and 5:30 p.m. Sunday at the Belcourt, 2102 Belcourt Ave.

ERICA CICCARONE

CHILDREN

[ANNUAL CHECKUPS] TEDDY BEAR CLINIC

If you’ve ever wished Doc McStuffins was real, the Nashville Zoo has the event for you. On March 4 and 5, kids can bring their favorite fluffy friends to the Nashville Zoo’s HCA Healthcare Veterinary Center for a checkup at this year’s Teddy Bear Clinic. Each plush patient will be examined by a zoo veterinarian and receive a certificate of “beary” good health, and their human companions will get to learn about wild animals from the experts who care for them every day. Admission to the event costs $5 on top of a regular zoo ticket, and registration is required in advance — this isn’t a walk-in clinic! Appointments will begin at 9:15 a.m. and will continue through 3:30 p.m., with the 3 p.m. and 3:15 slots running at reduced capacity for those with

If you haven’t checked in with Dawes in a while, you’re probably not aware of what you’re missing. Over the course of 11 years and seven previous albums, the Los Angeles-based outfit churned out solid West Coast folk-rock — catchy, lyrical tunes indebted to the likes of Jackson Browne and Crosby, Stills & Nash. Those influences are very much still present on Dawes’ latest record, July’s Misadventures of Doomscroller, but here the band stretches out like never before. While Doomscroller features only seven tunes, the average track length is six-and-a-half minutes, with album opener “Someone Else’s Cafe / Doomscroller Tries to Relax” and album closer “Sound That No One Made / Doomscroller Sunrise” clocking in at about nine minutes apiece. Frontman Taylor Goldsmith still does the lyrical, introspective folky thing, but there’s a lot more Grateful Dead and a lot less The Band in the mix this go-round. On the heels of a deluxe-edition release of Doomscroller — out last month and featuring a live performance of the album in full — the band will bring its An Evening With Dawes Tour to the Mother Church, a prime venue for long, stretched-out, crowd-satisfying sets. As the band promises: “Two sets. Just us. Long nights. Full hearts. Come early. We’ll all have to break out the catalog master lists and bingo cards as we try to get to every song we’ve got.” 8 p.m. at the Ryman, 116 Rep. John Lewis Way N. D. PATRICK RODGERS

ART [ARTY PARTY] ART NEVER SLEEPS

The Forge is hosting Art Never Sleeps, a late-night art-themed soirée celebrating the first Tennessee Triennial, a statewide event that highlights art in Nashville, Memphis, Chattanooga and Knoxville. This weekend is packed with Triennial-affiliated events — Fisk has a solo show of work by Alicia Henry; the Parthenon is hosting a virtual symposium with artists Houston Cofield, Desmond Lewis and Lakesha Moore; and plenty of galleries and museums are hosting open events for the monthly art crawl. (See this week’s Crawl Space column for details.) But starting at midnight, the place to be will be The Forge, where there will be

TEDDY BEAR CLINIC

DAWES

Live Piano

a cavalcade of site-specific art activations, with Big Fella leading the pack as the night’s emcee. Midnight at The Forge, 217 Willow St.

LAURA HUTSON HUNTER

SUNDAY / 3.5

[HITTIN’

MUSIC

THE BIG TIME]

WEBB WILDER

Is it time for Nashvillians to start referring to Webb Wilder — aka the “last of the boarding-house people” — a local institution? The full-grown man has been rockin’ and rollin’ in this town poolsidestyle since the mid-1980s. That’s 40 years of alt-country twang meets outer space themes meets private detective persona. The man is pushing 70 and shows no signs of slowing — Ray Wylie Hubbard must be impressed. If anything, Wilder (born John Webb McMurry in South Mississippi) has proven that staying true to one’s indierooted musical craft in Nashville will garner serious street cred. As Webb fans know, the onstage Wilder offers a quick and quirky wit, underrated guitar chops and booming baritone vocals. Above all, he’s a showman — and one who would make envious even the best circus performer and parlor magician. So all right folks, just make yourself at home at City Winery. Have a snow cone and enjoy the show. And no dogs.

7:30 p.m. at City Winery, 609 Lafayette St.

WILLIAM WILLIAMS

FILM

[PLAY THE CLASSIC FILM. PLAY IT!] FATHOM’S BIG

SCREEN CLASSICS: CASABLANCA

Technically, Michael Curtiz’s classic, oft-quoted, oft-referenced date movie — in which Humphrey Bogart’s cynical club owner and Ingrid Bergman’s marriedto-a-fugitive-Resistance-leader ex fight Nazis (and their feelings for each other) during crazy-as-hell World War II — had its premiere at New York’s Hollywood Theatre in 1942. However, Casablanca hit theaters in January 1943, which may explain why Fathom Events is playing it in theaters this week. To be honest, it would’ve made more sense to play it last month, around

Valentine’s Day, instead of this month. After all, it does contain one of the most iconic romances ever put on film. Not to mention it’s the kind of well-made, respectably entertaining schmaltz that Hollywood has completely forgotten how to do. Well, if you wanna give your significant other a late Valentine’s gift, you’ll have several chances to catch this movie at your nearest multiplex. March 5 and 8 at AMC and Regal Theaters

CRAIG D. LINDSEY

MONDAY / 3.6

MUSIC

[SHE CAN DANCE!]

BETTY WHO

In interviews, Betty Who has talked about how she does not always feel she is the best singer or dancer, but she puts in the most effort — and that mentality is evident in a Betty Who live performance. She’s doing lights! Outfits! Backup dancers! Joining in on the choreography! Her polished stage presence is something that stands out, even among contemporary pop artists. She’s hitting Nashville on Monday in support of perhaps her most diverse album yet, BIG! Betty has been releasing

bangers since her debut 2014 album, which included the single “Somebody Loves You,” but her latest album feels the most personal. (Try not to get a little choked up during “Grown Ups Grow Apart,” a song about changing friendships, and “BIG,” written for her 10-year-old self.) But songs like “WEEKEND” maintain the sexiness. In her very special Betty Who way, she makes the melancholy something you can jump around to. It may have been a bit extra to make every track title on the album all caps, but she’s making a point. It’s a point worth taking. 8 p.m. at Brooklyn Bowl, 925 Third Ave.

N. HANNAH HERNER

MUSIC

[DOUBLE TROUBLE]

LIZZIE KILLIAN & TIERNEY TOUGH

Drkmttr will welcome stripped-back solo sets from two Southeast-based indie rockers: Lizzie Killian of Raleigh, N.C.’s Teens in Trouble and Tierney Tough of

in Trouble EP with her Fender Mustang. It’s a new step for Killian, who says she’s excited to tweak the songs she’s used to playing with a larger rock ’n’ roll band. “When I wrote these songs, I wrote them on acoustic guitar,” Killian says. “They just have a different vibe, and I feel like they have their own specialness as a solo set.” The Pauses, meanwhile, typically offer crunchy guitar rock topped with 8-bit beeps and boops — check out 2018’s “The Best for the Most for the Least” for a good sample — so don’t be surprised if Tough spends a lot of the set tapping away on a Nintendo-flavored synth. 7 p.m. at Drkmttr, 1111 Dickerson

Pike COLE VILLENA

TUESDAY / 3.7

MUSIC [SIBLING BRILLIANCE] STEPHEN MARLEY

Orlando’s The Pauses. But don’t expect the classic Nashville-singer-songwriter-with-anacoustic vibe at the show. Killian’s previous bands were punk and chiptune groups, and she plans to perform the surf- and garagerock-tinged tracks from September’s Teens

Being the son of a legend can certainly be difficult, but few have mastered that challenge better than Stephen Marley. Though no one in reggae lore can match the global impact and influence of his late father Bob, Stephen Marley has enjoyed a remarkable and admirable career, winning both industry and idiomatic acclaim for his exploits as a performer and producer. Whether being the person behind the board for albums from brothers Damien and Ziggy, being part of the family group The Melody Makers, or cutting his own outstanding releases, Stephen Marley has been a major contributor in the reggae and world music communities. Perhaps his greatest artistic triumphs were the two LPs Revelation Pt. 1: The Root of Life and Revelation Pt. 2: The Fruit of Life in 2011 and 2012, with the former winning a Grammy for Best Reggae Album. Marley’s also had his share of intriguing collaborations, notably the 2017 single “Options” with Pitbull, which eventually saw the duo performing on The Tonight Show. Marley’s most recent activities include touring last year with Ziggy, Damien and other brothers Julian and Ky-Mani; compiling a 20-song YouTube playlist of his various collaborations not only with his brothers, but also with artists ranging from Buju Banton to Fugees; and his current Old Soul Tour, which comes to City Winery this week.

7:30 p.m. at City Winery, 609 Lafayette St.

RON WYNN

MUSIC [MUDDY ROOTS]

CHUCK PROPHET AND THE MISSION EXPRESS

On the rocking side of the divide that separates rock ’n’ roll fans from Americana boosters, critic Robert Christgau cites California-born singer, guitarist and songwriter Chuck Prophet as an example of “Amerindie,” which acknowledges the fact that Americana is a roots-conscious version of classic rock that sprang up during the heyday of indie rock. Prophet is a special case in a world where notions of authenticity can trip up writers who try to explicate Americana. I like Prophet’s 2007 album Soap and Water because it’s both ready-made and, well, authentic. Meanwhile, Prophet’s Dreaming Waylon’s Dreams — a reworking of Waylon Jennings’ Dreaming My Dreams that he released around the same time as

WEBB WILDER

BETTY WHO

LIZZIE KILLIAN

PHOTO: DAVID M c CLISTER

PHOTO: ZAK CASSAR

PHOTO: GRAYSON SIMON

The Stews w/ Easy Honey & Chasing Tonya Hippies and Cowboys, Friday Night Funk

Band, Natchez Tracers, & Banned In Nashville

BAD BUNNY X RAUW ALEJANDRO Dance Party

Thy Art Is Murder w/ Kublai Khan, Undeath, I AM, and Justice For The Damned

Magnolia Park w/ Arrows In Action & Poptropicaslutz! & First and Forever

PFR w/ Leigh Nash

Dylan LeBlanc & David Ramirez

Dark Side of The Moon 50th Anniversary Tribute

My So-Called Band

Sarah Shook & The Disarmers w/ Sunny War

an evening with yo la tengo

an evening with yo la tengo

Nonpoint w/ Blacktop Mojo and Sumo Cyco

The Breeders w/ Bully

King Tuff w/ Tchotchke

rubblebucket w/ lunar vacation

We Three w/ Casey Baer

mar20 mar 21 MAR 22

mar 23 mar 24 mar 25 mar 26 mar 27 mar 28 mar 29 mar 30 mar 31 apr 1 apr 2

8 apr 9

Tommy Prine (7pm)

Meg McRee w/ Harper O'Neill (9pm)

Patzy, Turtledoves (7pm)

Karma Vulture, Omenbringer, Mother Maiden Crone (9pm)

Scott T. Smith (7pm)

Hew & The Gees, Nate Rose, Aaron Dews (7pm)

Katie Toupin, Austin Plaine (7pm)

Yam Haus w/ Teddy At Night (7pm)

Ben Chapman w/ Special Guests: Meg McRee, Katie Pruitt, Brent Cobb & Channing

GUITAR LESSONS

with former Musicians Institute and Austin Guitar School instructor MARK

Jazz, Rock, Blues, Country, Fusion, Funk, Flamenco, etc. Technique, theory, songwriting. Programs available. 40 years exp. 512-619-3209 markbishmusic@gmail.com

Saturday, March 4

SONGWRITER SESSION

Kelly Archer

NOON · FORD THEATER

Sunday, March 5

MUSICIAN SPOTLIGHT

Rob Ickes and Trey Hensley

1:00 pm · FORD THEATER

Saturday, March 11

SONGWRITER SESSION

Miko Marks

NOON · FORD THEATER

Saturday, March 11

SONGWRITER SESSION

Sunny Sweeney

2:30 pm · FORD THEATER

Sunday, March 12

MUSICIAN SPOTLIGHT

Justin Hiltner

1:00 pm · FORD THEATER

Saturday, March 18

SONGWRITER SESSION

Steve Dean and Bill Whyte

NOON · FORD THEATER

Sunday, March 19

MUSICIAN SPOTLIGHT

Deanie Richardson

1:00 pm · FORD THEATER

Saturday, March 25

SONGWRITER SESSION

Janelle Arthur and Ryan Larkins

NOON · FORD THEATER

Check

Museum Membership

Members receive free Museum admission and access to weekly programming, concert ticket presale opportunities, and much more.

JOIN TODAY: CountryMusicHallofFame.org/Membership

Soap and Water — dispenses with hero worship and registers as a commentary on the limits of outlaw culture. On his 2020 fulllength The Land That Time Forgot, Prophet once again retools ready-made forms to look back at a time when rock ’n’ roll excess was something you could embrace. He references Johnny Thunders and Richard Nixon, and even the Beatles-style lick that kicks off “Marathon” sounds fresh. Prophet also has strong ties to Nashville, having written and recorded in town. However you classify him, he’s a master — don’t miss him.

8 p.m. at Eastside Bowl, 1508 Gallatin Pike

S. EDD HURT

BOOKS [SWEET, SWEET FANTASY]

HANNAH WHITTEN

Tennessean Hannah Whitten is the bestselling author of The Wilderwood fantasy series, which is often described as lush, romantic and epic. Count us in. Her newest book, The Foxglove King, is about a young woman’s secret power to raise the dead. Lore, the latest of Whitten’s tortured heroines, plunges into the dangerous and glamorous world of the Sainted King’s royal court. One reviewer on BookTok said The Foxglove King altered her brain chemistry. Whoa. Whitten will be celebrating the launch by having a conversation with author

Erica Waters. Hold onto your brains. 6:30 at Parnassus Books, 3900 Hillsboro Pike

TOBY LOWENFELS

WEDNESDAY / 3.8

MUSIC [THROUGH THE LOOKING GLASS]

MIRROR HOUSE FEAT. KYSHONA, YURINA YOSHIKAWA & MORE

Mirror House, the Porch Writers’ Collective’s night of poetry and song, is back with a roster of artists that provides ample reason to celebrate on International Women’s Day. The stellar lineup features folk-blues artist Kyshona, who, as the Scene’s Edd Hurt writes, “directs her skill as a singer and songwriter and her presence onstage toward compassion, keeping it at the center.” She’s joined by Robbie Lynn Hunsinger, who melds oboe and other double-reed instruments with electronic processes to glittering effect. On the prose side of things, Mirror House will feature Yurina Yoshikawa — a master of symbolism who published an excellent essay in the Scene in 2021 — and another longtime Scene contributor, Kim Green. Green is a writer, journalist and editor of Pursuit Magazine — the rad “online community of professional sleuths. … A behind-the-scenes glimpse into the lives of real spies and P.I.s.” Admission is technically free — donations will go toward the artists, so reach into those pockets to support some kick-ass women.

7 p.m. at Tempo, 2179 Nolensville Pike

ERICA CICCARONE

MUSIC

[I’M

GETTING EXCITED]

THE BETHS

The Beths played one of the best shows I’ve ever been to the last time they swung through Nashville in early 2022. Since then, the Auckland, N.Z.-based quartet released their third full-length, Expert in a Dying Field, another no-skip album of guitar-heavy “pop melancholia” that’s their most dynamic yet. On Expert, singer, guitarist and lead writer Liz Stokes muses about underexamined aspects of dying relationships: Sure, breaking up can be sad, rage-inducing and sometimes freeing, but what do you do now that you’re an expert in the hopes, fears, loves and hates of someone who’s not part of your life anymore? In less capable hands, these themes could produce music that’s dreary or even whiny, but Stokes writes earnest, cautiously hopeful lyrics throughout and delivers occasional pops of sweetness on songs like “When You Know You Know.” Jonathan Pearce (guitar), Tristan Deck (drums) and Benjamin Sinclair (bass) buoy those lyrics with perfectly pleasant power-pop arrangements and vocal harmonies that would make a choir jealous. Catch the band’s spring tour at Brooklyn Bowl before they return to the Bonnaroo stage in June. Sidney Gish, who just dropped Filming School on Sub Pop Records in February, opens. 8 p.m. at Brooklyn Bowl, 925 Third Ave. N. COLE VILLENA

CHUCK PROPHET

DOWNTOWN

Wednesday Night Titans

Clan of Xymox

MAR 1 Breaking Sound

MAR 3 Fingernails Are Pretty: A Foo Fighters Tribute

MAR 4 Big Jim Slade

MAR 5 Emotional Oranges

MAR 7 Chuck Prophet & the Mission Express

MAR 9 Wednesday Night Titans

MAR 10 3-REX-Free Show

MAR 11 The Taylor Party: Taylor Swift Night

MAR 12 SiSSi: A Queer Competition (Rd. 1)

MAR 17 RockNPod Pre-Party: Rare Hare

JACK SILVERMAN QUARTET

PAUL BURCH & WPA BALLCLUB

2022

3-REX-Free Show with Jeremy Asbrock, Mike Vargo and Tyler Warren 3/10

Marauda: Rage Room Tour 3/24

MAR 18 Daisha McBride and Marzz

MAR 19 Clan Of Xymox

MAR 21 Real Friends & Knuckle Puck

MAR 22 Mod Sun

MAR 23 Harley Kimbro Lewis

MAR 24 Marauda: Rage Room Tour

MAR 25 Eastside Headbanger Ball

MAR 26 SiSSi: A Queer Competition (Rd. 2)

MAR 28 The Battle Of Nashville: Tribute To Rage Against The Machine

MAR 31 IV & the Strange Band

APR 1 Emo Nite

@eastsidebowl | @eastsidebowlvenue

1508A Gallatin Pike S Madison TN 37115

RockNPod

Pre-Party: Rare Hare 3/17

The Red Jumpsuit Apparatus 4/14

Low Volume Lounge

8PM Free please mind the tip hat!

EVERY FRIDAY IN FEBRUARY Foster’s First Fridays

MAR 2 Jesse Isley

MAR 3 Foster’s First Fridays

MAR 8 Rain or Shine (Jazz)

MAR 9 Hi-Jivers Duo

MAR 10 Jon Radford Presents: The Raw (DJ Set)

MAR 15 The Imperial Blues Hour

MAR 16 Austin John Organ Trio

MAR 17 Nicky G & Friends

MAR 21 Robbie Crowell & Friend

MAR 22 Patrick Sweany

What kind of adventure would you like to go on this summer?

Use the codes below to find a camp based on your interests. Camp guide 2023

A = ADVENTURE DAY CAMPS

AR = Arts Day Camps

E = EQUESTRIAN CAMPS

F = FAITH-BASED CAMPS

G = GENERAL DAY

M = MULTIPLE CAMPS/locations

SI = Special Interest Day Camps

S = SLEEP AWAY CAMPS

SP = Sports day camps

ST = STEM Camps

A New Leaf Summer Camp G

7520 Charlotte Pike Nashville TN 37209 560-1533 • anewleafnashville.org/ summer-camp

Pip & Pickles Farm

4341 Pecan Valley Road Nashville, TN, 37218

Adventure Science Center A, SI, ST

800 Fort Negley Blvd. Nashville TN 37203 862-5160 • adventuresci.org/eventsprograms/camps/summer-camps/

Act Too PlayersBoiler Room Theatre AR 1113 Murfreesboro Road, Ste 119 Franklin TN 37064 294-0667 • acttooplayers.com/summercamps

Ann Carroll School of Dance AR

93 Seaboard Lane Suite 201 Franklin TN 37067 790-6468 • anncarrollschoolofdance. com/summer-camps-2023/

Annie Moses Summer Music Festival

- The Factory at Franklin AR, F 1110 Harpeth Industrial Ct, Franklin, TN 37064

(615) 905-6251 • anniemosessummermusicfestival.com/

Art Camps with Little Art House AR

2106B Acklen Ave. Nashville TN 37215 933-9644 • littlearthousenashville.com/ summer2023

Arts Center of Cannon County— Summer Youth Conservatory AR

1424 John Bragg Highway Woodbury TN 37190 563-2787 • artscenterofcc.com/ summeryouthconservatory

Barefoot Republic Camp F

Office Address:

1226 Lakeview Dr. Suite C Franklin TN 37067 599-9683 • barefootrepublic.org

Camp Address: 8824 Brownsford Rd Fountain Run, KY 42133

Barfield School of Dance AR

2298 Barfield Road Murfreesboro TN 37128 896-3118 • barfieldschoolofdance.com/ classes.html

Battleground Academy Summer Camps M

336 Ernest Rice Lane Franklin TN 37069 567-8327 • battlegroundacademy.org/ student-life/summer-camps

Baylor Summer Program S 171 Baylor School Road Chattanooga TN 37405 423-267-8505 • baylorschool.org/ camps-clubs-clinics

Belle Meade Historic Site Camps M 110 Leake Avenue Nashville TN 37205 356-0501 ext. 148 • visitbellemeade. com/family-programs/camps/

Belmont’s Summer Studios AR 1919 Belmont Blvd. Nashville TN 37212 460-8625 • belmont.edu/summercamps/summer-studios.html

Boxwell Reservation Scout Camp S 1260 Creighton Lane Lebanon TN 37087 383-9724 ext. 8234 • mtcbsa.org/ campfacilities

Boys & Girls Club Summer Programs M 1704 Charlotte Ave., Ste. 200 Nashville TN 37203 983-6836 • bgcmt.org/

Brentwood Academy AR, SP 219 Granny White Pike Brentwood TN 37027 373-0611 • summeratba.com/

Bridges for the Deaf and Hard of Hearing SI

935 Edgehill Ave Nashville TN 37203 248-8828 • bridgesfordeafandhh.org/

Camp Bear Track F, S 295 Prim Road

Drasco AR 72530

501-825-8222 • campbeartrack.com/

Camp Broadstone/Appalachian State University S ASU Box 32042

Boone, NC 38608

828- 262-3045 • conferences-camps. appstate.edu/youth-camps

Camp Carolina S PO Box 919

Brevard, NC 28712

828- 884-2414 • campcarolina.com/

Camp Carson YMCA S 2034 Outer Lake Road Princeton, IN 47670 (812) 385-3597 • campcarson.org/

Camp Country Lad S 204 Union B Road Monterey TN 38574

931-839-2354 (Summer) 931-526-1849 (Winter) • campcountrylad.com/sessions-nl

Camp Davis at Gordon Jewish Community Center G 801 Percy Warner Blvd. Nashville TN 37205 356-7170 • campdavisnashville.com

Camp DeSoto for Girls F, S 264 Highway Above the Clouds (264 County Rd. 631) Mentone AL 35984

256-634-4394 • campdesoto.com/

Camp Forget Me Not through Alive Hospice SI

Camp Site: Camp Widjiwagan 3088 Smith Springs Rd Antioch, TN 37013 963-4732 • alivehospice.org/newsevents/camps/

Camp Green Cove for Girls S 617 Green Cove Rd Zirconia NC 28790 828-692-6355 • greencove.com/

Camp Invention M (800) 968-4332 invent.org/programs/camp-invention

Camp Juliette Low S 321 Camp Juliette Low Rd. Cloudland, GA 30731

770-428-1062 • cjl.org/

Camp Laney F, S 916 West River Road Mentone AL 35984 256-634-4066 • camplaney.com/

Camp Marymount F, S 1318 Fairview Blvd. Fairview TN 37062 799-0410 • campmarymount.com/

Camp Merri-Mac for Girls F, S 1123 Montreat Road Black Mountain NC 28711 828-669-8766 • merri-mac.com/

Camp Mondamin for Boys S 413 Mondamin Rd. Zirconia NC 28790

828-693-7446 • mondamin.com/

Camp NaCoMe F 3232 Sulphur Creek Road Centerville, TN 37033 931-729-9723 • nacome.org/find-acamp-at-nacome-camp

Camp Seafarer (girls) S 2744 Seafarer Road Arapahoe NC 28510 252-249-1212 • seagull-seafarer.org/

Camp Sea Gull (boys) S 218 Sea Gull Landing Arapahoe NC 28510 252-249-1111 • seagull-seafarer.org/

Camp Skyline Ranch for Girls F, S 4888 Alabama Highway 117 Mentone AL 35984 800-448-9279 • campskyline.com/

Camp Smiley Christian Camp F 528 Vance Lane Lebanon TN 37087 444-4254• campsmiley.com/

Camp St. Cecilia G 4210 Harding Pike Nashville TN 37205 293-1625 • stcecilia.edu/campus-life/ camp-st-cecilia

Camp STEM ST PO Box 330916 Murfreesboro, TN 37133 415-7963 • campstem.us/

Camp Timberlake for Boys F, S 1123 Montreat Road, Suite B Black Mountain NC 28711 828-669-8766 • camptimberlake.com/

Camps highlighted in a blue bar are advertisers

Camp Twigs at Bells Bend Beaman A, G

4187 W. Old Hickory Blvd. Nashville TN 37218

856-4772 • leadershipacademyllc.com/ camps-list/camp-twigs/bells-bendbeaman/

Camp Location Thursday & Fridays

4255 Little Marrowbone Rd Nashville, TN 37015

Camp Vesper Point F, S 3216 Lee Pike

Soddy-Daisy TN 37379

423-648-7936 • vesperpoint.org/ summer-registration

Camp Woodmont for Boys & Girls F, S

381 Moonlight Road Cloudland GA 30731

423-472-6070 • campwoodmont.com/

Carol’s Homestead Outdoor Education Summer Camp A

7731 Ridgewood Road

Goodlettsville TN 37072

615-485-4548 • carolshomestead. wordpress.com/

Centennial Youth Ballet Summer Intensive 2023 AR

Centennial Performing Arts Studios

211 27th Ave N Nashville TN 37203

880-8439 • friendsofmetrodance.org/ summerintensive.html

Center for STEM Education for Girls ST

Harpeth Hall School

3801 Hobbs Rd Nashville TN 37215

297-9543 • stem.harpethhall.org/ summer-institute

Cheekwood AR

1200 Forrest Park Drive Nashville TN 37205

353-2151 • cheekwood.org/learn/campsand-classes-2/

Chippewa Ranch Camp for Girls S

8258 Country O Road Eagle River WI 54521 866-209-9322 • chippewaranchcamp. com/dates-rates

Circle Players Summer Musical Theatre Day Camp AR

Circle Players Rehearsal Space

832 Madison Square Madison TN 37115

(back of Madison Square Shopping Center)

332-7529 • circleplayers.net/

Creekside Riding Academy & Stables

Summer Day Camp E

2359 Lewisburg Pike Franklin TN 37064 595-7547 • creeksideridingstables.com/ summer-camps

Cub Creek Science Camp S

16795 Hwy E Rolla MO 65401 573-458-2125 • cubcreeksciencecamp. com/

Cub Scout Day Camps G 3414 Hillsboro Pike

P.O. Box 150409 Nashville TN 37215 383-9724 • mtcbsa.org/camping

Dance in Bloom AR

8133 Sawyer Brown Road Suite 601 Nashville, TN 37221 662-4819 • danceinbloom.com/summer

Deer Run Camps A, F, G, M, S 3845 Perkins Road Thompson’s Station TN 37179 235-5688 • deerrun.camp/camps/ Discovery Center at Murfree Spring SI

502 S.E. Broad St. Murfreesboro TN 37130 890-2300 • explorethedc.org/camps

Doe River Gorge F 220 Doe River Gorge Rd. Hampton, TN 37658 423-725-4010 • doerivergorge.com/ camps/

Easter Seals Summer Camp Programs M

Various Locations in Tennessee 500 Wilson Circle Pike, Suite 228 Brentwood TN 37027 292-6640 ex 134 • easterseals.com/ tennessee/our-programs/campingrecreation/youth-camps.html

Emagination Computer Camps S Massachusetts, Illinois, Virginia, Connecticut, Georgia, and Pennsylvania 877-248-0206 • emaginationstemcamps.com/

Ensworth Summer Camp M High School: 7401 Highway 100 Nashville TN 37221 301-5400 • ensworth.com/programs/ summer-offerings

Elementary and Middle Schools: 211 Ensworth Ave. Nashville TN 37205 383-0661

ETC Gymnastics F, SI

1137 Haley Road Murfreesboro TN 37129 867-6900 • etcgymnastics.com/%20 camps/

Father Ryan Summer Camps SP 700 Norwood Drive Nashville TN 37204 383-4200 • fatherryan.org/athletics/ summer-camps

Firstlight Art Academy AR

1710 General George Patton Dr. Ste. 108 Brentwood TN 37027 678-6745 • firstlightaa.org/blog/ summer-23/

Franklin Road Academy Summer Camps F, M

4700 Franklin Road Nashville TN 37220 833-8845 • franklinroadacademy.com/ summer-camp/summer-camps-info

Franklin School of Performing Arts AR

415 Duke Drive, Suite 370 Franklin TN 37067

628-8444 • franklinschoolofperformingarts.com/ camps

Frenchwoods Festival of the Performing Arts S Winter Location

1879 University Dr Coral Springs FL 33071 954-346-7455 • frenchwoods.com/

Summer Location

199 Bouchoux Brook Rd Hancock NY 13783 800-634-1703 • frenchwoods.com/

Fuge Life-Changing Camps F

Multiple Locations

1 Lifeway Plaza

Nashville, TN 37234

1-877-CAMP-123 • fugecamps.lifeway. com

Girl Scouts of Middle Tennessee Summer Camps M

4522 Granny White Pike Nashville TN 37204 383-0490 • gsmidtn.org/summercamp/

Great Smoky Mountains Institute at Tremont S

9275 Tremont Road Townsend TN 37882 865-448-6709 • gsmit.org/summeryouth/

Harding Academy Summer Programs M

170 Windsor Drive Nashville TN 37205 356-0441 • hardingacademy.org/ community/summer-programs

Harpeth Hall Summer Programs M 3801 Hobbs Road Nashville TN 37215 301-9286• harpethhall.org/community/ summer-camps

Hermitage Dance Academy AR 3441 Lebanon Pike, Suite 130 Hermitage TN 37076 231-7100 • hermitagedance.com/

Historic Travellers Rest Summer Camp A, AR, M, SI

636 Farrell Pkwy Nashville TN 37220

832-8197 • historictravellersrest.org/ summer-camp/

HIYC Sail Camp SP

Harbor Island Yacht Club at Harbor Drive & Saundersville Road Old Hickory TN 37138 859-433-9623 • hiyc.org/summer-sailcamp

Horton Haven Christian Camp F 3711 Reed Harris Road Lewisburg TN 37091 931-364-7656 • hortonhaven.org

iD Tech Camps SI

Located at Vanderbilt University and 60 prestigious universities nationwide 2201 West End Ave. Nashville TN 37212 408- 871-2227 • idtech.com/locations/ tennessee-summer-camps/vanderbiltuniversity

Indian Creek Camps F 150 Cabin Circle Drive Liberty, TN 37095 548-4411 • indiancreekcamp.com

John Knox Center F, M 591 West Rockwood Ferry Road Ten Mile TN 37880 865-376-2236 • johnknoxcenter.org/

Leadership Academy M PO Box 59074 Nashville TN 37205 856-4772 • leadershipacademyllc.com/

McNeilly Center for Children M 100 Meridian St. Nashville TN 37207 255-2549 • mcneillycenter.org/

Montgomery Bell AcademySummer Camp Programs M 4001 Harding Road Nashville TN 37205 298-5541 • montgomerybell.edu/ camps/camps--special-programs

Mountain Bike Camp SP Deep Well Trailhead, Percy Warner Park Nashville TN 37221 856-4772 • leadershipacademyllc.com/ camps-list/mountain-bike-camp/

Mpact Martial Arts Summer Camps SI 121 Seaboard Lane, Suite 1 Franklin TN 37067 377-3444 • mpactsports.com/camp

Mr. Bond Science Guy M 1011 Gillock St. Suite 160136 Nashville TN 37216 573-2702 • mrbondscienceguy.com/ science-camps

Murfreesboro Parks Summer Camps A, M 697 Veterans Parkway Murfreesboro TN 37128 890-5333 • murfreesborotn.gov/1550/ Summer-Camps

Teen Art Design Program and SUMMER STUDIOS

June 12-16 and June 19-23

This week-long program offers teens the opportunity to cultivate technical skills in art and design with an emphasis on problem solving, designing, communicating and creating. Classes are offered in architecture, art, fashion, graphic design and interior design.

Nashville Children’s Theatre

Summer Camp AR

25 Middleton St. Nashville TN 37210

252-4675 • nashvillechildrenstheatre. org/drama-school/

Nashville Dance Center AR

4004 Hillsboro Pike

Nashville TN 37215 385-7997 • nashvilledancecenter.com/ schedules/

Nashville Shakespeare Festival

Apprentice Company AR

161 Rains Ave. Nashville TN 37203

255-2273 ext. 2 • nashvilleshakes.org/ summer-camps

Nashville Zoo Summer Camp SI

3777 Nolensville Pike Nashville TN 37211 833-1534 • nashvillezoo.org/camp

National Flight Academy S, SI, ST

1 Fetterman Way

NAS Pensacola FL 32508

877-552-3632 • nationalflightacademy. com/

Nature Explorers A, M Shelby Park, Percy Warner Park, Harpeth River State Park 289-3009 • nashvillenatureexplorers. com/summer-camps

Owl’s Hill Nature Sanctuary SI Summer Camp 545 Beech Creek Road South Brentwood TN 37027 370-4672 • owlshill.org/camps

Ready2Rock and Summer Jam AR

Templeton Academy 631 2nd Ave S Nashville TN 37210 917-922-2894 • https://yeahrocks.org/

Riverview Camp for Girls F, S 757 County Road 614 Mentone AL 35984 (800) 882-0722 • riverviewcamp.net/

Rocketown Summer Sessions AR 601 Fourth Ave. S. Nashville TN 37210 843-4006 • rocketown.org/yeararound-camps

ROOTS Academy Music & Dance Summer Day Camps AR 320 Southgate Court, Brentwood, TN 37027 804-1177 • rootsacademy.com/camps/

School of Nashville Ballet AR

3630 Redmon St. Nashville TN 37209

297-2966 ext. 203 • nashvilleballet. com/summer-programs

Short Mountain Bible Camp F 650 Bible Camp Road Woodbury TN 37190 563-4168 • shortmountainbiblecamp. com/

Skyland Camp for Girls S 317 Spencer St. Clyde NC 28721 828-627-2470 • skylandcamp.com/

Soundwaves at Gaylord Opryland 2800 Opryland Drive Nashville TN 37214

889-1000 • soundwavesgo.com

Southern Prep Academy S 174 Ward Cir Camp Hill AL 36850

256-675-6260 • southernprepacademy. org/admissions/summer-programs/

Space Camp S 1 Tranquility Base Huntsville AL 35805 800-637-7223 • spacecamp.com/

St. Bernard Academy Summer Camp G 2304 Bernard Avenue Nashville TN 37212 385-0440 • stbernardacademy.org/ academics/summer-program

St. Paul Christian Academy — Summer Days G 5033 Hillsboro Pike Nashville TN 37215

269-4751 • stpaulchristianacademy. org/student-life/summer

Stage Right School of Performing Arts AR

2001 Campbell Station Parkway, Bldg C Suite 4 Spring Hill TN 37174 302-2881 • stageright615.com/ events-and-calendar

Sylvan Learning Center - EDGE Camp ST 810 Medical Center Pkwy Ste C Murfreesboro TN 37129 900-2509 • locations.sylvanlearning. com/us/murfreesboro-tn

Teen Leadership Adventure G, M Leadership Academy LLC PO Box 59074 Nashville, TN 37205 856-4772 • leadershipacademyllc.com/ camps-list/teen-leaders/

music by Wayne Barker

a play by Rick Elice

directed by Jim Manning

directed by Teal Davis

CAROL’S HOMESTEAD BOTANICAL SANCTUARY

Outdoor Education Summer Camp for Kids of All Ages

Join Dr. Carol Batey-Prunty and her husband John for an educational handson experience of nature, cooking and more!

With these 4-hour classes you’ll learn about resources ranging from home gardens, greenhouses, and woodland supply resources!

May 29 – June 1 | June 19 – 22 | July 10 – 14

Starting 4/20

9 AM – 1:30 PM | Lunch Provided & Music Taught $375 per person | Siblings Discount - $300 per person

Early Bird Discount Before April 1st - $50 o Register by calling 615-485-4548 or visit carolshomestead.wordpress.com

7731 Ridgewood Road, Goodlettsville, TN 37072

Tennessee Martial Arts Academy SP

8010 Safari Way

Smyrna TN 37167 220-4211 • tnmaa.com/read-me

Thrust Math & Science Summer Camp at FISK SI Corner of 17th Ave N and Jackson St, Nashville TN 37208 329-8605 • fisk.edu/campus-life/ get-involved/summer-programs/

Tiger Camp at Percy Priest Elementary School G 1700 Otter Creek Road Nashville TN 37215 390-3167 • percypriest.org/resources/ tiger-club/

Time to Learn: Summer Enrichment at Learning Lab AR, G, M, SI, ST 2416 21st Avenue South, Suite 100 Nashville TN 37212 321-7272

5500 Maryland Way, Suite 110 Brentwood TN 37027 377-2929 • mylearnlab.com/summerlearning-programs/

TPGA Junior Golf Academy SI 400 Franklin Road Franklin TN 37069 465-6322 • tngolf.org/learning-center/ tpga-jr-academy/2022-academy-daycamp-schedule-5729.html

Traumatic Brain Injury Program w/ Easter Seals Nashville SI 500 Wilson Pike Circle, Suite 228 Brentwood, TN 37027 292-6640 • easterseals.com/ tennessee/our-programs/campingrecreation/

University School of Nashville Summer Programs G 2000 Edgehill Ave. Nashville TN 37212 424-8823 • usn.org/parents/usnsummer-camps

Valley View Ranch Equestrian Camp E, S 606 Valley View Ranch Road Cloudland, GA 30731 706-862-2231 • valleyviewranch.com/

Victory Ranch F, S 4330 Mecklinburg Dr. Bolivar TN 38008 731-659-2880 • victoryranch.org/ summer-camp/

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DATE NIGHT, PART 1

From a neighborhood dive to downtown dining with The Centennial and Yolan

BY DANNY BONVISSUTO

Date Night is a two-part road map for everyone who wants a nice evening out, but has no time to plan it. It’s for people who want to do more than just go to one restaurant and call it a night. It’s for overwhelmed parents who don’t get out often; for friends who visit the same three restaurants because they’re too afraid to try someplace new; and for busy folks who keep forgetting all the places they’ve driven past, heard about, seen on social and said, “Let’s remember that place next time we go out.”

In the past five hours, my husband Dom and I have hustled to two youth basketball games, taken rushed showers, attempted to assemble vaguely adult-like outfits, picked up a pizza and the sitter, dropped off both at home and run back out the door.

It’s not the sexiest way to start a date night, but that’s the way it gets done in our world.

We have reservations at Yolan, the new fine-dining Italian restaurant in The Joseph hotel, but we’re not ready to face downtown just yet. We need a place to have a drink and a snack and segue from Tired Tween Parents Getting Our Asses Kicked on the Regular to a couple who remember that we like each other.

The place shouldn’t be too busy — we don’t have time to stalk people for their seats. And it shouldn’t be too expensive — we’re about to drop big bucks on dinner. It shouldn’t be too dirty, too clean or too far from downtown, but it should be far enough away that it feels completely different.

Known for its exterior portrait of Pat-

rick Swayze’s character Bodhi from Point Break — in all his shaggy, beach-blond, tanktopped glory — The Centennial checks off all the requirements.

Just off the corner of 51st and Centennial Boulevard in The Nations, The Centennial is dimly lit, as all good dives are — most of the light comes from the glow of TVs and a few neon signs. There are a couple of sea-themed murals inside, the kind of art an old sailor might have tattooed on his forearm, and there’s a framed rundown of banned patrons from the bar’s previous owners that looks like Santa’s naughty list. Each table has a napkin dispenser, a bottle of off-brand ketchup and a 25-ounce pump of hand sanitizer.

I have a lot of questions about The Centennial, many of which are about Patrick Swayze, but the answers will remain a mystery as inquiries to the owners weren’t returned. Can’t be mad about that: People who are good at running quality dive bars and people who enjoy talking to members of the media aren’t often the same people. Or maybe that’s the secret to keeping local bars local.

We have a drink each — an ice-cold Miller High Life draft for him and a margarita for me — and share a basket of mozzarella sticks as we chat about local breakfast spots with our server, Big Ang. Dom watches golf on one screen and basketball on another. I eavesdrop on a group of 20-something guys in ball caps and beanies describing their chest hair. On my way to the ladies’ room I pass a four-top of women celebrating a friend with a wedding-ring-shaped balloon tied around her chair.

The stall with a door that locks is occupied. The toilet with a shower curtain rigged around it is available. I wait for the stall.

Time to pay up and head downtown.

Now look: I’m as guilty as the next Nashvillian of rolling my eyes when visiting friends suggest going anywhere near Broadway, but I’m curious about Yolan. After more than three decades, Tony and Cathy Mantuano left Spiaggia — the alpha and omega of Chicago’s fine Italian dining — to move here and oversee food and beverage at The Joseph. Their executive pastry chef, Noelle Marchetti, recently made the James Beard Award semifinalist list for Outstanding Pastry Chef or Baker. And, well, it’s winter, and

downtown isn’t quite the chicken-fried clusterfudge it will be in a few months. Now’s the time, friends.

The kitchen offers five-course ($120) or eight-course ($160) regular and vegetarian tasting menus, plus an à la carte option with some crossover between the three. Yolan’s reservation system requires that you choose your menu in advance, and I went à la carte, so I’m confused by the tasting menu on the table. Our server Chris explains it’s a glitch in the system and both menus are available

for dinner.

A longtime server, Chris is decisive and confident. We narrow down our choices for each course and let him decide from there. I’ve tried this countless times at various restaurants, and most servers hem and haw, afraid to pull the trigger. Chris also has a gift for leaving the table at the exact right moment before our interactions turn trite or awkward.

He brings us the stracciatella, a fresh, soft cow’s-milk cheese with fennel for bite

RAINBOW TROUT AT YOLAN

THE CENTENNIAL HOSTS AN ANNUAL ST. PATRICK SWAYZE DAY EVERY AUGUST IN CELEBRATION OF THE LATE ACTOR’S BIRTHDAY

PHOTO: ANGELINA CASTILLO

PHOTO: DANIEL MEIGS

and dots of Calabrian chili crisp that add a faint heat.

He sends out the gnocchi, which arrives with an Italian chef who shaves a layer of black truffles over the plate by hand while describing its origins. I’m so mesmerized by the thin sheets of black truffle raining down on the plate and melting into the gnocchi I couldn’t tell you what he said.

Made with ricotta, the gnocchi — the sole à la carte menu item that never changes — are as light as gnocchi can possibly be, but nevertheless heavy, as all gnocchi are. Resist the temptation to eat slowly to make them last; the cream sauce doesn’t stay creamy forever. It’s hard to imagine that a better version of this dish exists outside Italy.

We double down on the pastas with bucatini all’Amatriciana — a faintly porky red sauce to pair with the white of the gnocchi. Chris grazes the side of his left cheek with his hand to illustrate the tender part of the pig where the meat comes from.

He balances out the carb courses with trota, or a trio of prosciutto-wrapped Bucksnort trout in a lambrusco sauce with a touch of smoked roe. I think the lambrusco might make the dish too sweet. I’m wrong.

Do we have room for dessert? No. Do we let Chris bring us the date gelato with sticky toffee anyway? Yes, just to try one of Marchetti’s potentially award-winning pastries. It’s sweet, salty and expertly textured in all the right ways. But if she wins the Beard, and I hope she does, it’ll be for the intoxicat-

ing focaccia she makes from a sourdough starter named Margo. Any subsequent visits I make to Yolan will follow this pattern: focaccia-gougere-gnocchi-focaccia.

Yolan has a dedicated entrance on Fourth Avenue separate from the hotel lobby, but shares one long room with The Joseph’s bar. That makes it feel more like a hotel restaurant than a regular restaurant, and gives it an inconsistent vibe I found hard to shake.

If this is Italian fine dining, I want to feel romanced, cocooned for a few fleeting hours in a world of food and wine. I don’t want to strain to hear my server over day-drunk conventioneers sucking back one last whiskey sour before their Ubers arrive.

Then again, I’m the one who’s out of place in a downtown hotel restaurant, not the tourists and business travelers. Yolan exists for them I can’t expect the fish to stop swimming just because I want to take a dip in the lake.

POST-MEAL UPDATE: After my visit to Yolan, I noticed a $563.73 charge on a credit card from The Joseph hotel, though I’d paid for our meal on a different card. Yolan’s assistant general manager explained via email that the charge was for a four-person tasting menu reservation I’d secured with that credit card and canceled (well within their 24-hour policy) due to a conflict. Absent any apology, he refunded my card more than three weeks after the erroneous charge was made, explaining that “the amount was not refunded as we have to refund the charge manually.”

EMAIL ARTS@NASHVILLESCENE.COM

DATE GELATO AT YOLAN

CRAWL SPACE: MARCH 2023

Nashville’s art gallery scene gets abstract for the end of the winter art season

BY JOE NOLAN

March tiptoed up on me this year, and I can’t believe the winter art season will technically be over in just a few weeks. Knowing Nashville weather, we might still see freezing temps and a few snowflakes before we can pack up our winter coats and head for the ol’ swimmin’ hole. No matter — this month’s gallery offerings are ending a great cold-weather season in strong form. March gallery events include a surprising number of formalist art exhibitions as well as a number of shows that are happening under the banner of the Tennessee Triennial, which is focused on Middle Tennessee this month.

WEDGEWOOD-HOUSTON

Photographer Vesna Pavlović’s recent exhibitions have been a departure from installations of reproduced images, and have seen her get back to the documentary style that first got her noticed as a young photographer. Perfect Memory includes three different bodies of photographs that Pavlović captured in Cuba, the U.S. and in her onetime home in the former Yugoslavia. “Sites of Memory,” “Jardines de Hershey” and “Searching for the Perfect Sunset” explore notions around memory-making within the context of the political and cultural histories informed by the Cold War era. Images of theatrically staged cinematic props snapped inside the defunct Avala film studios in Belgrade are emblematic of Pavlović’s wry-eyed cultural commentary, and pictures of an abandoned amusement park in Jibacoa, Cuba, are a haunting reminder of communism’s legacy of failed utopias.

➡ DETAILS: Perfect Memory opens at Zeitgeist on Saturday, with an artist reception from 4 until 6 p.m.

Memphis-based painter and sculptor

Tad Lauritzen Wright has honed his practice down to bold expressions composed from single lines. His paintings are packed with looping arcs and crazy curves, and his cartoonish sculptures pop from the gallery’s walls in wild, tangled expressions of enamel-coated aluminum wire. In Beauty Is a Byproduct, Wright’s abstractions are buoyant and energized displays, resulting from meditative experiments that push at the edges of what formalist art can be and what it can mean.

➡ DETAILS: David Lusk Gallery will host an open house for Wright’s latest exhibit on Saturday from noon until 5 p.m.

Wright’s focus on single lines is matched by Louisa Glenn’s preoccupations with color. The artist builds abstract layers of color

on her canvases, mixing and matching chromatic conversations on the surface of her works between hues and tones that jibe, and some that completely refuse to vibe. Glenn’s works feature repeating patterns that are inspired by quilt-making, but the colors are the real stars here — her bold experiments at the edges of color theory result in paintings that are at turns both silly and sublime.

➡ DETAILS: Glenn’s The Cracks Are How the Light Gets In opens Saturday night at Julia Martin Gallery, with an artist reception from 6 until 9 p.m.

Renata Cassiano Alvarez is currently a visiting assistant professor at the University of Arkansas School of Art. She’s also the recipient of Coop Gallery’s 2022 open call to artists. Espejos takes its name from the Spanish word for mirrors, and Alvarez’s exhibition is packed with reflective surfaces that reference the Aztec god Tezcatlipoca, who is often represented with a mirror at his feet or in his chest. Alvarez focuses on Tezcatlipoca as a deity that represents transformation and change, deploying a series of glaze and obsidian mirrors alongside a collection of oversized clay and obsidian knives and artifacts. The installation also includes tiled structures that recall architecture and decorative details from Alvarez’s home in Veracruz, Mexico.

➡ DETAILS: Espejos opens Saturday with an artist reception at Coop from 1 until 9 p.m.

Unrequited Leisure’s March offering is ...displacing — a multi-artist video installation that creates a critical conversation around

global tourism, the historical impacts of colonialism, and the ecological and cultural consequences of people in motion around the world. Alejandro T. Acierto is an artist, musician and curator whose multimedia explorations of space document particular places with an eye toward history and technology. Lani Asunción deploys a similarly multifaceted approach, using wearable sculptures, voice activation and projection mapping to explore subjects from biopolitics to militarism. Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez. Their work addresses economic themes with an aesthetic that matches the absurd extremes of late neoliberalism. All three videos screen on a single monitor at the gallery, allowing for plenty of comparing and contrasting between the works of these provocative creators.

➡ DETAILS: The show opens Saturday night with a reception from 5 until 8 p.m.

DOWNTOWN

Wesley Clark’s A Human Synthesis is a display of the artist’s graphite-on-paper works. The show’s monochromatic palette emphasizes the erratic mark-making that Clark uses to create interacting deep-black fields, zig-zag patterns, grids and squiggles that fill the works to their edges. He also employs erasing and scratching to create layers upon layers in these palimpsestic pieces that fall somewhere between art and artifact, documenting the process of their own making. This is another show of strong formalist works in a March art gallery calendar that’s brimming with abstractions

and the elemental thrills of art for art’s sake.

➡ DETAILS: Tinney Contemporary hosts an opening reception for A Human Synthesis on Saturday from 2 until 8 p.m. They’ll also be hosting special programming this month in collaboration with the Tennessee Triennial.

The Artist Collective Program initiative of Daybreak Arts is an art therapy program for artists struggling to find affordable housing. These homeless and formerly homeless creators enjoy the healing benefits of creative work, and Daybreak also creates opportunities for them to exhibit and sell their art, empowering their efforts to achieve more economic stability in their lives and their practices. Artists A.M. Hassan and Paul Collins have curated a new display of the artists’ works — Daybreak: Showcasing the Artists of Daybreak Arts’ Artist Collective.

➡ DETAILS: The show opens at The Browsing Room at The Downtown Presbyterian Church Saturday night with a reception from 6 until 8 p.m.

EAST NASHVILLE

Last but not least, The Red Arrow Gallery opens Buket Savci’s Beyond the Dreampond for March. Savci’s large canvases are so crowded with half-naked people and inflatable pool toys that her sensual tangles of lips, skin, vinyl and sunglasses take on an almost abstract quality.

➡ DETAILS: The gallery is hosting a reception on Saturday night from 6 until 9 p.m.

“FOUR OPTIONS—REALLY ONLY TWO,” WESLEY CLARK

A HUMAN SYNTHESIS AT TINNEY CONTEMPORARY

PLUMBING THE DEPTHS

Depths of Wikipedia’s Annie Rauwerda is obsessed with accessible information

BY COLE VILLENA

Annie Rauwerda loves Wikipedia.

She loves that Wikipedia is, as she calls it, “the most accessible collection of information that humanity has ever had.” She loves its passionate community of volunteer editors, who incorporate new discoveries and information to that collection in real time. (An anonymous editor started updating the verb tenses on Queen Elizabeth II’s page from “is” to “was” barely a minute after Buckingham Palace announced her death in 2022.)

Rauwerda also loves the site’s endless collection of weird, silly and unfailingly formal articles about everything from “Death by vending machine” to “List of nicknames used by George W. Bush.” For almost three years, she’s been compiling her favorites on Depths of Wikipedia, social media accounts with millions of combined followers.

“To me, there’s so much humor in mixing a lowbrow idea with highbrow language, and then the opposite,” Rauwerda says. “Once you see the Wikipedia font and layout, you immediately have these expectations of some scholarly sentence. When those are defied, it’s pretty funny.”

Rauwerda is speaking to the Scene ahead of her March 5 visit to Zanies, where she’ll put on an 80-minute performance that’s set to be part comedy show, part love letter to the site.

“When you have a single operator who’s clearly doing this out of passion, I think that voice comes through,” Rauwerda says. “I hope that people can tell with my account that I’m doing this just because I’m obsessed about it.”

Depths of Wikipedia posts show the site’s ubiquitous, buttoned-up decorum being used to explore seemingly nonacademic topics. The “List of diss tracks” page includes “Yankee Doodle,” the ferocious lyrical takedown of George Washington and the Continental Army. There’s an article on “Long Boi,” a “renowned, exceptionally tall male duck,” complete with a photo. And there’s a well-sourced page on the Philippines’ “ ‘My Way’ killings,” fatal disputes that occasionally arise after singers in karaoke bars sing the Frank Sinatra hit off-key.

The bite-size posts are perfect for social media feeds, something Rauwerda says helped her original Instagram page grow from a pandemic hobby to a popular page with more than a million followers. (She has since started Twitter and TikTok accounts with smaller but still-sizable followings.) She finds a lot of her content by just browsing the site and through user submissions, and while she often finds herself posting about her own personal interests — math, science and technology — she doesn’t have specific guidelines on what

will “work” on her page.

One thing that helps a post pop: Judicious cropping. In the same way a stand-up comic trims their set for the punchiest punchlines, Rauwerda posts Wiki screenshots with just enough context to be both intriguing and hilarious. Really, how much more do you need to read after seeing the line “All tracks are written by Linkin Park. Track 11 written by Linkin Park and Martin Luther King Jr.”?

“Every word that’s not adding something is definitely taking something away, because people aren’t sitting there to read,” says Rauwerda. “They’re scrolling on their phones. So I try to make sure that most of the words there are serving a purpose and being funny.”

Rauwerda, unsurprisingly, has always loved trivia and once auditioned for Jeopardy! In high school, she spent many of her lunch breaks Wikiracing, which involves navigating from one Wikipedia page to another using only the page’s internal links. You could, for example, start at the page for “Nashville Scene,” then click links to “Nashville, Tennessee,” “Vanderbilt University” and “Public research university” before arriving at the page for “University of Michigan,” Rauwerda’s recent alma mater.

Trawling the site gave her a deep appreciation of Wikipedia and especially its editing community. While high school teachers often decry the site’s open editing policy and say it allows inaccurate information to appear on and disseminate via its pages, Rauwerda points out that the site has a rigorous manual of style and standards for citations and edits. She’s written for publications including Slate about how valuable the site is in places like Russia, where access to reliable information is often suppressed.

“The editing community is really inspiring to me, because it’s all these very, very smart people who can’t handle information being incomplete or wrong, and so they get addicted to creating the encyclopedia together,” Rauwerda says. “It’s really wholesome people who expect nothing and just care so much.”

For these Wikipedians — or just fans of the social media pages — Rauwerda says her live show offers a deep dive into her view of the site and its humor. She’s working on digging up some Nashville-related posts in time for the Zanies date.

“People are always like, ‘Do you just stand on the stage and read Wikipedia?’ No! Of course I don’t do that. But also, that’s not that far off. I also get a lot more into extended debates that Wikipedians have or other things that are a little more in the weeds or behind the scenes and don’t lend themselves very well to the very short, consumable grid post.

“People always say it’s funnier than they expect, but you also learn a lot.”

EMAIL ARTS@NASHVILLESCENE.COM

RANDALL KENAN COULD FLY

BY KASHIF ANDREW GRAHAM

Far too often, the Black queer canon is said to begin and end with James Baldwin. More than a few miss out on the Black gay writers for whom Baldwin was both friend and foreigner. Randall Kenan is a timely example of such a writer. In his posthumous collection of essays, Black Folk Could Fly, he engages with James Baldwin, but also with two larger questions — What is Blackness? and What is Southernness?

Through a profound analysis of food, music, film and literature, Kenan explores the many aspects of African American life in the American South. In doing so, he puts his own history up for observation (bravely admitting that he, at times, has felt not Black enough). The book opens with an introduction by Tayari Jones, author of An American Marriage and Silver Sparrow. Jones admonishes the reader not to forget Kenan. These first pages also serve as a eulogy. She gathers Kenan’s memories and musings like brush and twigs for a fire. But she doesn’t light them ablaze. Instead, she invites us all to take what we will. A piece of Randall Kenan will go with us all for our own fires.

It is worthwhile to note Kenan’s extended discussions of language, which emerge from their chapters as a commentary on the entire collection: “We use language; language does not use us.” In this instance, he appraises the use of the N-word in African American communities. He begins with a review of the work of comedian Richard Pryor, who often employed the word as a sword of humor. Kenan then recounts how, in 1982, Pryor had an enlightening trip to Africa that caused him to omit the N-word from his comedic routines. By Kenan’s assessment, this was an oversimplification of the history and complexity of the Nword — its uses in both daily Black life and literature communicate levels of affection and disdain that white America can never comprehend. Surprisingly though, in this fraught racial conversation, Kenan finds a middle point between those who do and do not use the word. Rather than this being a neutral place, it is a factual one. Kenan takes on the role of a linguist, offering: “At the end of the day it really is just a word, children.”

The profound editorial consideration with which these 21 works of nonfiction are woven together is evident. Several of the essays reintroduce material that was omitted during previous publications. For instance, consider the essays “Ghost Dog” and “Swine Dreams: or, Barbecue for the Brain.” About the latter the editor notes, “Meanwhile the previously cut material about hog gelding,

too riveting to ignore, is now restored to an essay that takes a more personal form and includes Kenan’s original subtitle.”

The collection opens and closes with two letters. The first is a letter to Kenan’s godson titled “A Change Is Gonna Come.” He uses this hybrid letter-essay to recount his personal history to his posterity. It is an old Black church tradition — the business of answering the question, “What do these stones mean?” In doing so, he apprises his godson of a larger Black lineage, one that includes Billie Holiday, Miles Davis and Sarah Vaughan. He closes the letter with a chain-breaking question: “Did you know, once upon a time, Black folk could fly? … Remember that when you think you are stuck in the mud.”

Kenan’s letter to himself at the end of the book is no less tender and inspiring. He addresses the letter to Garrett (his middle name). He places a wide breadth of advice before his younger self — everything from buying Apple stock to romantic endeavors. But the most salient of these is to “fly where you want to fly.” It is a sweet thing when we can give ourselves the encouragement we give others.

Randall Kenan is now with the ancestors. With our Black gay fathers. With Reginald Shepherd, with Essex Hemphill and with James Baldwin. In his estimation, the time when Black Folk Could Fly is past, present and future. It is all about how we consider ourselves and the world.

For more local book coverage, please visit Chapter16.org, an online publication of Humanities Tennessee.

FOLK COULD FLY:

Presented by

The battle is back!

Thursday April 6 | 6-9:30

Musicians Hall of Fame and Museum

Four of Nashville’s best chefs will throw down in a head-to-head cooking competition featuring one secret ingredient to win the coveted Iron Fork trophy! Watch the competition go down while you enjoy samples from 20± of the best restaurants in town and sip on cocktails, beer and wine.

GENERAL ADMISSION AND VIP TICKETS AVAILABLE

Upgrade your ticket to VIP to enjoy a night of culinary decadence, with all the perks of a GA ticket PLUS:

• Expedited entrance into the event 30 minutes before General Admission and separate check-in line

• Access to our VIP Lounge

• Access to our Mixology Competition with additional cocktail samples from some of the city’s best mixologists

• Access to a special VIP food demonstration and additional bites from one of the city’s best restaurants

tickets on sale now!

PATHFINDING

Tommy Prine begins a new chapter in his family story

BY CHRIS PARTON

Tommy Prine never expected to be sitting where he is. Well, let me clarify: In a physical sense, it’s pretty normal. We’re chatting in a quiet study at the stately suburban home where his mother Fiona lives, which now sits empty, ready to sell. But to be talking with a writer about his own music? That’s still kind of weird.

Growing up as one of the sons of the late, beloved John Prine — something close to a prince of American folk — Tommy Prine did not have his mind set on following in his father’s footsteps. That seemed like a fool’s errand, and as such, that is still not the younger Prine’s goal. But now he’s ready to make his own mark.

“The best way I can explain it is that I’ve never felt more like myself,” Prine says, flashing a genuine, welcoming smile, with a faded ball cap atop his still-boyish face.

At 27 years old, he’s getting set to release his debut album, and although he’s clear about not intending to copy John’s approach, he does seem to have his dad’s knack for simple, stark eloquence. Last year, Tommy released two singles, “Turning Stones” and “Ships in the Harbor.” They’re filled with probing introspection and vivid metaphor, sung in a gentle, understated tone and backed with quiet acoustic instruments. For the album he has up his sleeve, he’s upping the ante with some expansive roots-pop

BEEN CAUGHT STEELING

Russ Pahl, Luke Schneider and friends highlight the pedal steel’s vast range with the Steel Guitar Arts Council

BY CHARLIE ZAILLIAN

production and a light touch of his mom’s Celtic roots. But before all that, the old soul will spend some one-on-one time with hometown fans.

With a monthlong residency at The Basement — each Thursday in March except the 23rd — Prine will introduce his songs and himself, stepping to the mic along with some big, so-far-unnamed special guests. But as excited as he is, he kind of had to be pushed into it.

Prine notes that he learned to play guitar at an early age, would sometimes join his dad for encores and even wrote a few songs as a teen. But the closest he wanted to get to a music career was his job at the Country Music Hall of Fame and Museum gift shop, or once in a while manning the door at The Basement East.

His first performance of original songs came at a beach fest his dad was playing in the Dominican Republic; another artist dropped out, and Tommy was coaxed onstage. That lit the spark. But after John’s death in 2020 — lost to COVID in a heartbreaking situation that kept Tommy and most of the family from properly saying goodbye — songwriting finally hooked him.

“Through all that trauma and the stress of losing a parent, writing was a really good outlet for me — because I was trying to avoid bad habits at all costs,” he explains. “I knew that if I started dealing with big traumatic things with horrible habits at 24, I was only gonna fuck myself up going forward. So I was like, ‘OK, I’m gonna try and just write a bunch.’ ”

Hewing to advice his dad gave him over pancakes one morning — “paint a picture as simply as you can” — Prine set to work in earnest. He kept his writing confessional and allowed plenty of space for deep thinking, but never made his messages complicated.

Eventually, he played his songs for Ruston Kelly, a good pal who then decided to push Prine again. Along with their mutual friend, producer-engineer Gena Johnson, Kelly ambushed him on a conference call to say they had decided they were going to record his work.

“I was like, ‘… OK,’ ” Prine says with a laugh. “Like, what do you say to that? But in the moment, it felt extremely right. I think I just needed two people that I really loved and respected to spell it out for me.”

Those sessions would develop into Prine’s forthcoming album, on which his soul-searching words — about falling in with the wrong crowd, being reborn like Gandalf in The Lord of the Rings, losing his dad so suddenly and more — are conveyed with an eclectic, modern-folk sound. There are hints of everything from coffeehouse chill to Prine’s early faves like OutKast and Green Day. Prine also cites Jason Isbell’s Southeastern as pivotal, and he credits the record with helping him understand his father’s genius and the power of songwriting in general. But listeners will know, right off the bat, that the vision in Tommy Prine’s material is his own.

The Basement shows will give fans a taste. Aside from his special guests, he’ll be playing solo — which is very much on purpose. Now that he’s embarking on a musical career, Prine knows that one of his biggest challenges is setting himself apart, even as he remembers where he came from.

“I’m never gonna shy away from my family or my last name. But I might as well say upfront, ‘All songs written by ‘not John Prine Jr.,’ you know? I don’t see it as walking in his shadow — I feel like I’m walking next to it. I can acknowledge it and know that it’s near, and respect and honor him and his legacy. But I’m building my own thing.”

EMAIL MUSIC@NASHVILLESCENE.COM

Synonymous as pedal steel is with Nashville music, new permutations of the instrument abound beyond its iconic role as a sonic accoutrement for country records. There are plenty of steel-gazers about town, who are both maestros in classic approaches to the instrument and working to expand the way people think of it. Among them is Russ Pahl, a Minnesotan who moved to town in ’85 and who turns 70 this year; his recent credits include records by Dan Auerbach, T Bone Burnett and Kacey Musgraves. There are also relative young bucks Luke Schneider (age 43), and Whit Wright (37). Schneider you might know in many different ways, including as an erstwhile member of Margo Price’s band, a contributor to The Rectangle Shades — the country-psych concern of John Davis from Superdrag — or the solo firebrand behind 2020’s masterful Third Man Records LP Altar of Harmony. When he’s not collaborating with Schneider’s TMR labelmate and fellow soundscaper Rich Ruth or touring with country singers like Joshua Hedley or Thomas Rhett, Wright issues solo work as Whitten.

Last year Schneider curated Chrome Universal, an installment in indie label Tompkins Square’s Imaginational Anthem series, featuring players who apply a rainbow array of approaches to pedal steel that highlight the instrument’s beauty and its viability as a vessel for far-out sound. Several of them joined him at The 5 Spot on the final night of AmericanaFest for a showcase, which planted the seed for semi-regular happenings.

Say hello to the newly christened Steel Guitar Arts Council, a loose coalition of players with a huge range of perspectives. The group’s inaugural gala

PLAYING MARCH 2, 9, 16 AND 30 AT THE BASEMENT

SATURDAY, MARCH 4, AT THE BLUE ROOM AT THIRD MAN RECORDS

PHOTO: EMMA DELEVANTE

LUKE SCHNEIDER

PHOTO: CAL QUINN

MUSIC

takes place Saturday at The Blue Room, with solo sets from Pahl, Wright and Schneider, as well as fellow Nashville steel aces Mike Daly, Dan Dugmore and Jim Hoke. Singer-songwriter Brit Taylor, who just released her LP Kentucky Blue — coproduced by Sturgill Simpson and David Ferguson, whose projects together include Margo Price’s That’s How Rumors Get Started — will play as well. Ahead of the show, the Scene caught up with Pahl and Schneider in separate phone conversations. Below is a portion of our talk, woven into one discussion for ease of reading.

HOW DID PEDAL STEEL BECOME PART OF YOUR LIFE?

Russ Pahl: I’d been playing guitar in this country trio at this tavern my dad took me to, a bit west of Minneapolis. I was just 12 years old then. [Laughs] One night, this guy who came through on tour told me I was playing the wrong instrument. Afterward, I hung around and he showed me some licks on pedal steel. Turned out that guy was Ralph Mooney, who’d played with Buck Owens. That’s how I got started.

Luke Schneider: Playing in Natural Child, and with Lambchop. … Weird, ambient New Age is my favorite thing to do. But I also love playing with singer-songwriters.

RUSS, WHEN DID YOU LAND IN NASHVILLE, AND WHAT WAS IT LIKE THEN?

RP: 1985. Got my first 10,000 hours playing country, disco and polka in the clubs of the Twin Cities in the ’70s and early ’80s, then my second 10,000 in the studios here. [Laughs] I had to get out of Minnesota because playing pedal steel I was kind of the top dog — which is no good, because you need people who are better than you if you want to get better. It was the mid-1980s and things were rocking, hard. The whole Nashville Network was screaming. TV shows to play on. Publishing demos. A lot of playing. A lot of recording. But if you had a rock band, there was no place for that — you went to New York or L.A. Thinking like a guitarist, basically, kept me working. I respect the steel-guitar greats — Lloyd Green, Paul Franklin — but also love guys like Andy Summers from The Police, that whole tone-generating side of things.

IS NASHVILLE THE NATIONAL CAPITAL OF STEEL GUITAR?

RP: Absolutely. There’s at least 50 or 60 proficient players here. Luke, Whit and I are trying to create a space for people who want to express themselves with the instrument. This is not your dad’s steel guitar anymore.

LS: I would say there’s at least a couple hundred.

HOW DID THE STEEL GUITAR ARTS COUNCIL COME TO BE?

RP: The show last fall at 5 Spot was when we decided to create an alliance — to promote shows, encourage players here to fly their freak flag and do stuff they wouldn’t otherwise do at a traditional, rearview-gazing steel-guitar gig … and ultimately get some higher-profile guys who’ve taken the instrument to interesting places — like Daniel Lanois — involved. I’m an old hippie, and this is a happening. Bring clean bong water.

LS: Russ keeps up with outside-the-box things people are doing. It’s cool to be a part of his vision, and to network with the many other steel guitarists he’s met along the way. We all love classic country music, but the point of this … is to focus less on the past, and more on new directions the instrument can be taken.

THE SPIN STRINGS THEORY

BY LORIE LIEBIG

The jam-packed pews of the Ryman practically vibrated for the entirety of Billy Strings’ adopted-hometown headlining performance on Sunday. At just 30 years old, the Michigan-born singer-songwriter and guitar wiz has notched an impressive list of career achievements, from IBMA Awards and Grammys to selling out venues around the world. In barely 10 years of pursuing music professionally, Strings has developed the kind of massive, dedicated following usually attributed to jam bands or rock ’n’ roll legends who’ve been on the road for decades. Along with his mindblowing six-string skills, Strings brings a polished, youthful edge; like so many greats, he’s far from a strict traditionalist, but the fundamentals of classic bluegrass are at the core of his style. Alongside genre-expanding peers like Jake Blount and Molly Tuttle, he’s part of a cadre of players who are opening up new generations of fans to beloved tradition. The Mother Church show — which comes about five years after his first show as a support act at the venue and about nine months after his most recent turn as Ryman headliner — bookended a landmark weekend for Strings, who had also sold out the previous two nights at the 10-times-larger Bridgestone Arena. The set lists at the ’Stone leaned toward the originals and rock-leaning covers in his repertoire (like Pearl Jam’s “Elderly Woman Behind the Counter in a Small Town” and Widespread Panic’s jazz-tinged

“Pickin’ Up the Pieces”), with some noteworthy nods to trad ’grass. Surprise guests included Derek Trucks and Noam Pikelny on Saturday night. Strings and his band of aces had something a little different in store for those who lined up outside the Ryman hours before the doors opened on Sunday. Sporting a crisp all-white suit with a silver bowtie and an off-white Western hat, Strings made his way to center stage, where his mic stand was adorned in the style of the Grand Ole Opry, its square surround bearing his name in red block letters. His bandmates — fiddler Alex Hargreaves, banjo picker Billy Failing, mandolinist Jarrod Walker and bassman Royal Masat — were clad in matching powderblue suits.

“This is hallowed ground — ground zero for bluegrass music,” Strings told the crowd. “We’re so honored and privileged to play this music we love so much for you folks, who we also love so much.”

After kicking off the proceedings with a version of Jimmy Martin’s “Tennessee,” Strings & Co. rolled through a brilliantly chosen set of bluegrass classics, many of which Strings first discovered in his early youth. From The Dillards’ “Old Home Place” to Flatt & Scruggs’ “Somehow Tonight,” Strings curated a stellar mix of some of the most influential tunes in bluegrass history.

Midway through the first of two full sets, Strings invited banjo master Rob McCoury to the stage for a run of songs that included “Eight More Miles to Louisville,” “Foggy Mountain Breakdown” and “Long Journey Home.”

A shining bluegrass star in his own right, McCoury and his brother Ronnie appeared on Strings’ most recent LP Me/And/Dad. Released in November, the album is a passion project for Strings, featuring collaborations

with his adoptive father Terry Barber, who first exposed him to bluegrass and helped him learn guitar. Onstage, Strings took a moment to reflect on the sessions and Rob McCoury’s ability to seemingly nail every performance on the first try.

“I asked him at the studio, ‘How’d you do that on every take?’ ” Strings recalled with a chuckle “[He said,] ‘Man, those notes are flying by so fast, nobody notices the wrong ones.’ ”

After 17 songs, the band retreated from the stage for a brief intermission. They returned even looser and more energized than before, burning up the stage with their version of Johnny Horton’s “Ole Slew-Foot.”

Although chatter in the crowd during intermission indicated fans seemed to expect a second set filled with Strings’ originals, he kept his focus on paying tribute to the artists that inspired him. Along with songs made famous by The Delmore Brothers, The Stanley Brothers and Doc Watson, he and his cohorts focused heavily on Bill Monroe and the Bluegrass Boys’ songbook, busting out tunes including “The Road to Columbus,” “Ashland Breakdown” and show-closer “Roll On Buddy, Roll On.”

From the molten-gold melodies reeled off by Strings and band at lightning speed to the hoots and hollers of the rowdy crowd, the infectious joy of the evening was undeniable. The importance of the show, capping a career-highlight weekend for Strings and his crew, didn’t get lost amid the hubbub.

“It’s crazy to play a gig like this and then go home and sleep in your own bed,” said Strings, gazing around the full-to-bursting auditorium beneath the same spotlight that’s shone on so many of his heroes from decades past. “You go, ‘Oh my God — did we really just do that?’ ”

EMAIL THESPIN@NASHVILLESCENE.COM

IN THE TALL ’GRASS: BILLY STRINGS

PHOTO: ANGELINA CASTILLO

RING MASTER

Electric Jonathan Majors propels sturdy, emotionally raw Creed III

BY LOGAN BUTTS

One of my favorite things in film is when an actor has the year. When a movie star is born before our eyes, or an established star proves they still have the juice. Ideally the year involves a good mix of arthouse fare and blockbuster crowd-pleasers. Barbara Stanwyck in 1941. Humphrey Bogart in 1948. Sidney Poitier in 1967. Tom Hanks in 1993. Jamie Foxx in 2004. Jessica Chastain in 2011. Oscar Isaac in 2015. Lupita Nyong’o in 2019. Jonathan Majors is having his year. With acclaimed performances in Sundance standout Magazine Dreams and MCU entry Ant-Man and the Wasp: Quantumania (disappointing though the rest of the film was) already under his heavyweight belt, the 33-year-old has added to his impressive 2023 résumé with an electric turn in Creed III

The latest installment in the Creed series and the ninth overall in the Rocky franchise, Creed III marks the directorial debut of star Michael B. Jordan. Here Jordan turns in his best performance in years and proves himself a capable filmmaker — and even so, he nearly has the film stolen out of his hands by Majors.

The film picks up after Jordan’s Adonis Creed has reached the mountaintop following the events of Creed II. He has accomplished everything he can in boxing, and has retired from fighting to focus on running his gym and promoting other boxers. His family life is finally stable.

Enter Majors’ Damian “Diamond Dame” Anderson, a close childhood friend of

SPLICES

Oscar nominees at the Belcourt, mediocre fare at the megaplexes

BY D. PATRICK RODGERS

With the 95th Academy Awards slated for Sunday, March 12, Nashville’s beloved arthouse theater is giving moviegoers one last chance to see some of this year’s nominees on the big screen before the ceremony. The Belcourt’s OscaRRR Picks and Best Picture Marathon series will run March 3 through 11 — a lineup of Oscar contenders, along with, as the Belcourt folks put it, “a corrective of our own” — before the nonprofit’s annual Red Carpet Evening fundraiser and watch party on the 12th.

You’ll have more than a dozen opportunities to catch Best International Film nominee Close, an emotional coming-of-age tale from Belgian director Lukas Dhont. While Indian epic RRR somehow isn’t nominated for Best International Film, the “exhilarating, action-packed spectacular mythologizing two real-life freedom fighters” is up for Best Original Song

Adonis’ who just completed a nearly twodecade prison sentence. Majors shuffles his way into the film one revelation at a time before fully lighting the screen on fire when his motivations become clear.

The film has to go out of its way to show us that, actually, Damian is the antagonist by having him commit a borderline heinous act to keep us from outright cheering for him over a comparably bland lead — similar to Jordan’s own fascinating, complex and scene-stealing performance as Killmonger in Black Panther. Jordan nevertheless brings a lot to the film in his performance. He injects a raw sense of emotion that harkens back to the first iteration of Creed

— something that was absent the last time around. Adonis’ scenes with Tony “Duke” Evans, played by Jordan’s The Wire co-star Wood Harris, are especially poignant as a sort of full-circle moment for his career. Who doesn’t want to see Wallace and Avon on screen together again?

Jordan also holds his own behind the camera. The boxing sequences have a muscular beauty that borders on abstract — they get within sniffing distance of Martin Scorsese’s iconic and influential Raging Bull, even if they don’t necessarily pack the same brutal punch as those of the 1980 classic. By the time the inevitable thirdact training montage kicks into high gear,

Jordan has proven he can direct a set piece.

As with Creed II, impressive filmmaking and committed performances are held back to an extent by a thin script. At just under two hours, Creed III feels lean compared to most recent franchise outings, but even so, you might find yourself wishing some story elements were either more fleshed-out or dropped altogether.

But if you enjoyed the first two films, or even if you just miss the days when a pair of movie stars squaring off in a literal or metaphorical ring was all a film needed to be successful, then Creed III is worth a trip to the local multiplex.

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Western Front; Sarah Polley’s adaptation of Miriam Toews’ novel Women Talking; the fun-as-hell populist nominee Top Gun: Maverick; Steven Spielberg’s masterful The Fabelmans; the widely beloved Everything Everywhere All at Once (leading the field with 11 total nominations); Martin McDonagh’s tender, funny and heartbreaking The Banshees of Inisherin; and Swedish director Ruben Östlund’s dark-horse satire Triangle of Sadness. The Belcourt is also continuing its run of Oscar-Nominated Short Films

— and that’s enough to get it a pair of screenings. That “corrective” of which the Belcourt speaks is director Gina Prince-Bythewood’s Viola Davis-starring Woman King, snubbed by the Academy but presented in conjunction with the Belcourt’s ongoing Beloved: A Spotlight Series on Black Female Directors. (Also showing as part of that series’ closing weekend is Eve’s Bayou, director Kasi Lemmons’ 1997 family drama.) Other Oscar Picks screenings will include Turning Red and Guillermo del Toro’s Pinocchio

(both up for Best Animated Feature Film), To Leslie (whose lead Andrea Riseborough garnered a mildly controversial nomination for Best Actress) and Irish Best International contender The Quiet Girl

With the exception of James Cameron’s Avatar: The Way of Water — still omnipresent at the megaplexes — the Belcourt will also show every Best Picture nominee: Tár, with its exceptional turn from star Cate Blanchett; Baz Luhrmann’s absolutely outlandish Elvis; director Edward Berger’s World War I epic All Quiet on the

Also still playing at the Hillsboro Village cinema this week is Mia Hansen-Løve’s One Fine Morning, which our own Craig D. Lindsey recently called “another melancholic, mature, beautifully constructed feather in the cap of Hansen-Løve, one of the most personal (and most human) filmmakers out there.” Creed III opens this weekend at cineplexes (read our review of that above), as does survival-horror flick Hunt Her, Kill Her, while the more-than-a-meme Cocaine Bear and the MCU’s Ant-Man and the Wasp: Quantumania (which has fetched more than $350 million at the box office despite spotty reviews) continue their runs. Also still in theaters are Magic Mike’s Last Dance and the aforementioned Avatar sequel.

EMAIL ARTS@NASHVILLESCENE.COM

CREED III

PG-13, 117 MINUTES OPENING WIDE FRIDAY, MARCH 3 TÁR

ACROSS

1 Gradually develop, literally

5 Doozy

10 Gradually develop, literally

14 Cuba’s ___ Castro, brother of Fidel

15 Kind of group in chemistry

16 Like many indie films

17 Last monarch of the House of Stuart

18 Barber’s belt

19 Trademarked coffee holder

20 Sierra ___ (Mexican range, informally)

22 Comicdom’s “Queen of the Jungle”

24 Things you might save while driving

26 More aged, as some cheeses

27 Aptly named mascot of the 2000 Olympics

28 Jean-___ Picard of “Star Trek”

29 “Watch it!”

30 Boom producer, once: Abbr.

31 Leaves in the kitchen?

33 Developing phenomena literally depicted three times in this puzzle

43 One way an animal may be held

44 Shakespearean cries

45 The “Gateway to the West”

46 Chinwagging

48 In a bind

50 Google ___, service beginning in 2017

51 Name hidden in “oleomargarine”

52 Way off

54 Gradually develop, literally

58 Company originally founded as Blue Ribbon Sports

61 Commoner 63 “Let’s ___!”

64 Is the real deal

65 Kitchen gadget with an edge

66 French season

67 Butterfly, but not a caterpillar

68 Hole maker

69 Norse god of war

70 “Are you down for this?”

DOWN

1 Pop-pop

2 Farm storehouse

3 Punished for the weekend, perhaps

4 Beer containers

5 One might hit a very low pitch

6 Many an essential worker, for short

7 Put on

8 Game in which the object is to score 500 points

9 High-quality

10 Total phony

11 Some surgical tools

12 Enormous amounts to spend

13 “As far as I’m concerned …”

21 Sushi staple that isn’t served raw

23 Put a fork in it!

25 Quantity contrasted with a vector, in physics

26 Most like a wallflower

32 Foxy

33 Ink holder

34 Kind of power in math

35 Early 2010s

36 You might make waves when you lie about this

ANSWER TO PREVIOUS PUZZLE

Online subscriptions: Today’s puzzle and more than 9,000 past puzzles, nytimes.com/ crosswords ($39.95 a year).

Read about and comment on each puzzle: nytimes.com/wordplay.

Crosswords for young solvers: nytimes.com/ studentcrosswords.

·

VERONICA

Ruby

Notice Fourth Circuit Docket No. 22A71

ADRIAN EUGENE LAVENDER, et al. vs. DESTINY RENEE WAKEFIELD

In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon DESTINY RENEE WAKEFIELD. It is ordered that said Defendant enter HER appearance herein with thirty (30) days after MARCH 2, 2023, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on April 3, 2023.

It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

Joseph P. Day, Clerk

M. De Jesus Deputy Clerk

Date: February 3, 2023

Wende Rutherford Attorney for Plaintiff

NSC 2/9, 2/16, 2/23, 3/2 /23

Non-Resident Notice

Third Circuit

Docket No. 22D1726

VERONICA HERNANDEZ SOTO vs. ARMANDO DIAZ AISPURO

In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon ARMANDO DIAZ AISPURO. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after MARCH 16, 2023 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on April 17 2023.

It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

Joseph P. Day, Clerk M. De Jesus, Deputy Clerk

Date: February 16, 2023

Matt Maniatis Attorney for Plaintiff

NSC 2/23, 3/2, 3/9, 3/16/23

In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon ARMANDO DIAZ AISPURO. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after MARCH 16, 2023 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on April 17, 2023.

It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

Joseph P. Day Clerk

M. De Jesus Deputy Clerk

Date: February 16, 2023

Matt Maniatis Attorney for Plaintiff

NSC 2/23, 3/2, 3/9, 3/16/23

Non-Resident Notice Third Circuit Docket No. 22D1606

BRENDA NICOLE ADAGEYUDI vs. REGINALD ADAGEYUDI

In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon REGINALD ADAGEYUDI. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after MARCH 16, 2023, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on April 17, 2023.

It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

Joseph P. Day Clerk

M. De Jesus, Deputy Clerk

Date: February 16, 2023

M. Oliver Osemwegie Attorney for Plaintiff

NSC 2/23, 3/2, 3/9, 3/16/23

thirty (30) days after MARCH 16, 2023, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on April 17, 2023.

It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

Joseph P. Day, Clerk

M. De Jesus , Deputy Clerk

Date: February 16, 2023

M. Oliver Osemwegie Attorney for Plaintiff

NSC 2/23, 3/2 3/9, 3/16/23

Non-Resident Notice

Fourth Circuit

Docket No. 22D309

AMBER M. WORD vs. THOMAS L. DILLARD

In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon THOMAS L. DILLARD. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after MARCH 16, 2023, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on April 17, 2023.

It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

Joseph P. Day, Clerk

L Chappell, Deputy Clerk

Date: February 15, 2023

Robyn L. Ryan Attorney for Plaintiff

NSC 2/23, 3/2, 3/9, 3/16/23

cession in the Nashville Scene, a newspaper published in Nashville.

Joseph P. Day Clerk

L Chappell, Deputy Clerk

Date: February 15, 2023

Robyn L. Ryan Attorney for Plaintiff

NSC 2/23, 3/2, 3/9, 3/16/23

Non-Resident Notice Third Circuit Docket No. 22D1838

JACOB JEROME REYNOLDS vs. JULIE NICOLE REYNOLDS

In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon JULIE NICOLE REYNOLDS. It is ordered that said Defendant enter HER appearance herein with thirty (30) days after MARCH 23, 2023 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on April 24, 2023. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

Joseph P. Day, Clerk

M. De Jesus Deputy Clerk

Date: February 16, 2023

Trudy L Bloodworth Attorney for Plaintiff NSC 3/2, 3/9, 3/16, 3/23/23

HealthStream, Inc. seeks a Associate Team Lead in Nashville, TN to design, develop, and maintain software products. Reqs. BS+2 yrs. exp. To apply mail resume to HealthStream, Inc., Attn: Whitney Drucker, 500 11th Ave N, Ste 1000, Nashville, TN 37203. Must reference Job Title & Job Code: 000063.

HealthStream Inc., in Nashville, TN seeks a Sr. Quality Assurance Analyst to plan, develop, and coordinate testing activities including analysis, test strategy and test plan. Reqs. MS + 2 yrs exp or BS + 5 yrs exp. Salary range for position: $101,109.00$105,000.00. 100% telecommuting role. Reports to company headquarters in Nashville, TN. Can work remotely or telecommute. To apply: mail resume to HealthStream, Inc., 500 11th Avenue North, Ste 1000, Nashville, TN 37203; ATTN: Whitney Drucker, Must reference job title: Job ID: 000074.

Communications: Sr Manager, Programming & Scheduling (in Nashville, TN) Strat long form prgmg r/o for lin pf & liaise on dev/exec of orig music prgmg sched strat. Analy data, tds, insights & ratings/sh to optimize prgmg,bol audience reten & drv sh gr. Maint docs crit to acq sched incl Movie Plan, Remn Movie Reps, Acq Lib/Db. Telecommuting permitted. Reqs: Master’s in media/TV management, communications or related +1 yr exp in job or as Program Planning & Scheduling mnger/coordinator or related. Exp must incl 1 yr w/scheduling linear & nonlinear platforms for media industry & strong knowledge of country music, Nielsen ratings, contract management, MS Excel, Word, Outlook & TV scheduling SW. Resumes to Allison Stevens, HR, Paramount, 1515 Broadway, NY, NY 10036.

Scheduling mnger/coordinator or related. Exp must incl 1 yr w/scheduling linear & nonlinear platforms for media industry & strong knowledge of country music, Nielsen ratings, contract management, MS Excel, Word, Outlook & TV scheduling SW. Resumes to Allison Stevens, HR, Paramount, 1515 Broadway, NY, NY 10036.